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                            REVOLUTIONARY ROAD
          
          

                               Written by
          
                              Justin Haythe
          
          
          
          EXT. NEW YORK CITY - NIGHT, 1947. FLASHBACK.
          
          City lights. The soaring bridges and glowing windows of New
          York City. The SOUNDS of a cocktail party.
          
          
          INT. GREENWICH VILLAGE APARTMENT - NIGHT, 1947. FLASHBACK.
          
          A party   of bohemian types in the village. Artist's canvases
          propped   up against the walls. A narrow hallway with couples
          talking   intimately. Two rooms crammed with young people
          smoking   and drinking.
          
          A man and a woman in their 20's stand alone in a corner...
          
          FRANK WHEELER, intelligent good-looks, and APRIL JOHNSON, a
          patrician beauty, a woman amongst girls. He's been making
          her laugh.
          
                                FRANK
                      So, what do you do?
          
                                APRIL
                      I'm studying to be an actress.
                      You?
          
                                FRANK
                      I'm a longshoreman.
          
                                APRIL
                          (smiles)
                      No, I mean really.
          
                                FRANK
                      I mean really too. Starting
                      Monday, though, I'm doing something
                      a little more glamorous. Night
                      cashier at a cafeteria.
          
                                APRIL
                          (smiles)
                      I don't mean how you make money.   I
                      mean what are you interested in?
          
                                FRANK
                      Honey - if I had the answer to that
                      one, I bet I'd bore us both to
                      death in half an hour.
          
                                                                      2.
          
          
          She laughs.   He smiles, revelling in her attention.
          
          
          INT. GREENWICH VILLAGE APARTMENT - NIGHT, 1947, LATER.
          
          Later, Frank and April dance. They move well, in sync,
          looking into each other's eyes. He slides his hand down the
          silk of April's dress until it rests in the small of her
          back.
          
          Close on their hands. Their fingers slowly entwine as they
          lose themselves in each other...
          
                                                         SMASH CUT TO:
          
          
          INT. AUDITORIUM - NIGHT, PRESENT.
          
          Close on Frank's face, seven years later, full of doubt and
          tension as he watches his wife, April, on stage and as we
          hear the hollow VOICES of a very bad amateur play...
          
          Finally, mercifully, the curtain falls.   Nothing.   Then
          vigorous, relieved applause.
          
          Frank hears a voice from behind, through the applause:
          
                              WOMAN
                    Thank God that's over...
          
          April takes the final bow. She's fighting not to cry. Frank
          applauds her loudly. Looks around to see who else is joining
          him. But there is no noticeable crescendo in the applause.
          
          Then Frank hears the voice again:
          
                              WOMAN (CONT'D)
                    ...And she was very disappointing.
          
          He can't argue.
          
          
          INT. HIGH SCHOOL AUDITORIUM - NIGHT, MOMENTS LATER.
          
          Frank now moves against the crowd of exiting audience members
          towards the stage. He keeps his head lowered, avoiding eye-
          contact, until he feels a hand on his sleeve.
          
                                                                      3.
          
          
          MR. AND MRS. GIVINGS, an older couple, are standing in his
          way.
          
                              MRS. GIVINGS
                    Frank! Very nice Frank!
          
                              FRANK
                    Thanks, Mrs. Givings.
          
          Frank steps around her.
          
                              MRS. GIVINGS
                    I can't tell you how much we
                    enjoyed it. You have a very
                    talented wife.
          
          Frank forces a smile as he goes.
          
                              FRANK
                    I'll pass it along!
          
          
          INT. DRESSING ROOM - NIGHT.
          
          April sits alone at her dressing table crying.
          
          
          INT. BACK STAGE - NIGHT.
          
          The CAST mills backstage. The mood is subdued, but some have
          decided to make light of the disaster.
          
          Frank moves through the crowd.    Across the room, he sees -
          
          MILLY CAMPBELL, 30's, determinedly bright, up on her tip-
          toes. Her husband SHEP, 30's, heavy-set, is still in
          costume, shell-shocked and pebbled with sweat.
          
                              MILLY
                    Frank!
          
                              FRANK
                    Hi!
          
                              MILLY
                    She's through there...!
                        (points)
                    You `bout ready for that drink?
          
                                                                      4.
          
          
                              FRANK
                    Couple of minutes!
          
          
          INT. DRESSING ROOM - NIGHT.
          
          Frank enters. The chair in front of the mirror is empty. A
          cigarette burns in the ashtray. Frank glances at a standing
          screen in the corner. April's costume is draped over the
          top. He goes towards it, deciding what to say.
          
                               FRANK
                        (heartfelt)
                    April, sweetheart.   You were great.
                    I mean it.
          
          The door to the bathroom opens. April enters in street
          clothes. Frank's been talking to an empty room.
          
                              APRIL
                    Hi. You about ready to leave?
                    I've just got to get this makeup
                    off, then we can go.
          
          She sits in front of the mirror, too embarrassed to look at
          him. FRANK can see that her face is blotchy from crying. He
          puts his hand on her shoulder.
          
                              FRANK
                    Well... I guess it wasn't a triumph
                    or anything, was it?
          
          APRIL looks at him in the mirror. She holds his look just a
          second. And from her expression, he knows he said exactly
          the wrong thing.
          
                              APRIL
                    I guess not. I'll be ready in a
                    minute.
          
                              FRANK
                    Take your time.
          
          He removes his hands and lights a cigarette.     APRIL begins to
          take off her makeup.
          
                                                                        5.
          
          
                              APRIL
                    Will you do me a favor? Milly and
                    Shep wanted us to go out with them
                    afterwards. Will you say we can't?
                    Say it's because of the baby sitter
                    or something?
          
                              FRANK
                    Well, the thing is, I already said
                    that we could. I mean, I just saw
                    them out there and I said we would.
          
                              APRIL
                        (tense)
                    Oh. Then would you mind going out
                    again and saying you were mistaken?
                    That should be simple enough.
          
                              FRANK
                    Don't you think that's a little bit
                    rude, April?
          
                              APRIL
                    Well I'll tell them myself.
          
                               FRANK
                    Okay. Okay. Take it easy. I'll
                    tell them.
          
          He backs to the door.
          
          
          INT. HIGH-SCHOOL CORRIDOR - NIGHT.
          
          April and Frank walk down a long empty echoing corridor, past
          school lockers, booster club posters and silent classrooms.
          
          They don't touch.   They don't speak.   The tension between
          them is palpable.
          
          
          INT. WHEELER CAR - NIGHT.
          
          Frank drives. April stares ahead.    Their faces are lit by
          the dashboard. After a while...
          
                                                               6.
          
          
                              FRANK
                    I mean it, baby. You were the only
                    person in that play.
          
                                 APRIL
                    Thank you.
          
          He looks over at her.
          
                              FRANK
                    We just never should've let you get
                    mixed up in the damned thing.
          
                                 APRIL
                    All right.
          
                              FRANK
                    You've studied for Christ's sake.
          
                              APRIL
                    Could we sort of stop talking about
                    it now?
          
                              FRANK
                    Sure. I just don't want you
                    feeling bad about it, that's all.
                    Because it's not worth it. I mean,
                    it's bad enough having to live out
                    here among these damn people -
                    what'd you say?
          
                              APRIL
                    I said yes. All right, Frank.
                    Could you just stop talking now,
                    before you drive me crazy, please?
          
          Frank clenches his jaw and flips on the indicator.
          
                              APRIL (CONT'D)
                    What are you doing? Why are we
                    stopping?
          
          
          EXT. HIGHWAY - NIGHT.
          
          The car comes to a stop at the side of the road.
          
                                                                   7.
          
          
          INT. WHEELER CAR - NIGHT.
          
          Frank turns off the ignition.   He slides towards her.
          
                              APRIL
                    No, Frank, please don't...
          
          He puts his arms around her.
          
                              FRANK
                    Baby, it's okay...
          
                              APRIL
                    Please don't touch me.
          
                               FRANK
                    April...
          
                              APRIL
                    Why can't you...just... LEAVE ME
                    ALONE!
          
          Frank slides back behind the wheel.    Beat.
          
                              FRANK
                    It strikes me, that there's a
                    considerable amount of bullshit
                    going on here.... And there's one
                    or two things I'd like to clear up.
                    Number one, it's not my fault the
                    play was lousy. Number two, it's
                    sure as hell not my fault you
                    didn't turn out to be an actress,
                    and the sooner you get over that
                    little piece of soap opera the
                    better off we'll both be. Number
                    three, I don't happen to fit the
                    role of dumb, insensitive suburban
                    husband; you've been trying to hang
                    that one on me ever since we moved
                    here. Number four -
          
          She opens the door and is out of the car, flashing across the
          headlights. Frank struggles with his door.
          
                                                                     8.
          
          
          EXT. HIGHWAY SHOULDER - NIGHT.
          
          April stands in the dark 30 yards from the road looking over
          an expansive countryside. There's only a few lights in the
          distance. This is still farmland.
          
          Frank comes up behind her, careful to keep his distance.
          
                              FRANK
                    What the hell are you doing?     Come
                    back to the car.
          
                             APRIL
                    No. Just let me stand here a
                    second.
          
          Frank raises his arms in exasperation. A car approaches.    He
          puts a hand in his pocket and tries to look casual. The
          car's headlights light up April's back, then pass.
          
                              FRANK
                    April?
          
          She doesn't move.
          
                              FRANK (CONT'D)
                    Look, can't we sit in the car and
                    talk about it, instead of running
                    all over Route Twelve?
          
                              APRIL
                    Haven't I made it clear I don't
                    particularly want to talk about it?
          
                              FRANK
                    Okay. Jesus, I'm trying to be nice
                    about this thing.
          
                              APRIL
                    How kind of you. How terribly,
                    terribly kind of you.
          
                              FRANK
                    Wait a minute. I don't deserve
                    this.
          
                                                                    9.
          
          
                              APRIL
                    You're always so wonderfully
                    definite, aren't you, on the
                    subject of what you do and don't
                    deserve?
          
          She turns and walks past him back towards the car.
          
                              FRANK
                    Wait a minute!
          
          He stumbles after her.   Other cars whizz by, but he's past
          caring.
          
                              FRANK (CONT'D)
                    Wait a minute, God damn it!
          
          She leans against the car and folds her arms.
          
                              FRANK (CONT'D)
                    You listen to me. This is one time
                    you're not going to get away with
                    twisting everything I say.
          
                              APRIL
                    Christ, I wish you'd stayed home
                    tonight!
          
                              FRANK
                    You know what you are when you're
                    like this? You're sick. I really
                    mean that. You're sick!
          
                              APRIL
                    And you know what you are?
                        (eyes raking him)
                    You're disgusting.
          
                                FRANK
                    Oh, yeah?
          
                              APRIL
                    Just because you've got me safely
                    in this little trap, you think you
                    can bully me into feeling whatever
                    you want!
          
                                                                    10.
          
          
                              FRANK
                    You in a trap! You in a trap!
                    Jesus, don't make me laugh!
          
                              APRIL
                    Yes, me.
                        (clutching at her chest)
                    Me! Me! Me! Oh, you poor, pathetic
                    little boy  Look at you! Look at
                    you, and tell me how by any stretch
                    of the imagination you can call
                    yourself a man!
          
          He raises his fist, she flinches away, and BONG! BONG! BONG!
          BONG! He punches the hood of the car. Then, silence. The
          look April gives him is probably the worst look he's ever
          received: a look of pitying boredom.
          
                              FRANK
                    Don't look at me like that, April.
          
                              APRIL
                    Could we please go home now?
          
          She calmly walks around and gets in the car.    After a moment,
          Frank follows...
          
          
          INT. CAR - NIGHT.
          
          They sit silently in the car in the darkness.
          
          TITLE CARD: REVOLUTIONARY ROAD
          
          
          EXT. WHEELER HOUSE - MORNING.
          
          A small, attractive suburban house in the morning sunshine.
          Frank walks out to the car, stops and looks back at the
          house.
          
          
          INT. WHEELER LIVING ROOM - MORNING.
          
          April stands at the window.   The SOUND of the car pulling
          away.
          
                                                                   11.
          
          
          EXT. REVOLUTIONARY ROAD TRAIN STATION - MORNING.
          
          Frank stands on a grey platform, amongst a crowd of
          commuters. The morning commuter train eases into the
          station.
          
          
          INT. COMMUTER TRAIN - MORNING.
          
          Frank sits against the train window holding a "New Yorker."
          Around him, the train is crowded with men reading newspapers.
          
          
          INT. GRAND CENTRAL PLATFORM - MORNING.
          
          In one swift movement, all the doors of the commuter train
          swing open as a hundred feet step down onto the platform.
          
          
          INT. GRAND CENTRAL STATION - MORNING.
          
          An empty stairwell in Grand Central: a tide of grim,
          determined commuters rise into view. A mass of suits and
          hats. Frank is amongst them.
          
          
          EXT. MIDTOWN STREET - MORNING.
          
          Knox Headquarters -- a squat, formidable structure.   Thick
          HONKING traffic. Crowded sidewalks.
          
          Frank walks with the crowd past a display window: bright
          cardboard images of fashionable women grin and point their
          pencils at a list of product benefits - "SPEED, ACCURACY,
          CONTROL."
          
          Pride of place at the center of the display is a new Knox 500
          Electronic Computer with a sign that reads: "Performs A Man's
          Lifetime of Work in Just 30 Minutes!"
          
          
          INT. KNOX BUILDING ELEVATOR - MORNING.
          
          Frank rides crushed against the wall in a crowded elevator.
          He glances over at -
          
          MAUREEN GRUBE, 23, ripe, a little obvious, but undeniably
          sexy.   She meets his look. And looks away.
          
                                                                    12.
          
          
          INT. KNOX 15TH FLOOR, FRANK'S CUBICLE - MORNING.
          
          Frank opens the bottom right drawer of his desk, props up his
          feet and lights a cigarette.
          
                              JACK (O.S.)
                    I'm going to need your help this
                    morning, Old Scout.
          
          Seated beside Frank, JACK ORDWAY, 40's, tall and effete with
          greying hair, appears to be hard at work, hunched over a
          file. He is, in fact, propping up his head with his hand
          while shielding his eyes.
          
                              JACK (CONT'D)
                    For the next few hours, you're to
                    warn me of Bandy's every approach
                    and you may have to screen me from
                    public view in the likely event I
                    that I throw up. It's that bad.
          
                              FRANK
                    Good morning, Jack.
          
                              JACK
                    Nothing good about it, I assure
                    you.
          
          
          EXT. WHEELER HOUSE - DAY.
          
          April drags two overflowing garbage cans to the curb. She
          stops and looks down the empty road. Not a single human
          being in sight.
          
          Close on April's face.
          
          
          INT. MRS. GIVINGS' CAR - DAY, 1948. FLASHBACK.
          
          Mrs. Givings sits behind the wheel, driving slowly along a
          suburban street talking at high speed.
          
          Frank sits beside her wearing sunglasses.    April sits in the
          back.
          
          We don't yet see what Mrs. Givings is describing, only as it
          plays on their faces.
          
                                                                   13.
          
          
                               MRS. GIVINGS
                    Of course, I knew the moment you
                    came off the train what you were
                    looking for... A small remodeled
                    barn, or a carriage house  And I
                    just hate to be the one to tell you
                    that sort of thing just isn't
                    available anymore... But I don't
                    want you to despair. There is one
                    place down here I want to show
                    you... Now of course it isn't very
                    desirable at this end.
                        (gestures)
                    As you see, Crawford Road is mostly
                    these little cinder-blocky, pick-up
                    trucky places  plumbers,
                    carpenters, little local people of
                    that sort.
          
          Frank turns around to April, lowers his glasses. April
          stifles a giggle.
          
                              MRS. GIVINGS (CONT'D)
                    But eventually...
                        (she points, her arm fully
                         extended)
                    Eventually it leads up to
                    Revolutionary Road, which is much
                    nicer. Now, the place I want to
                    show you, is a sweet little house
                    and a sweet little setting.
                    Simple, clean lines, good lawns,
                    marvelous for children. It's right
                    around this next curve... Now,
                    you'll see it  there.
          
          They all look.
          
                              MRS. GIVINGS (CONT'D)
                    See the little white one? Sweet
                    isn't it? The perky way it sits
                    there on its little slope?
                    Charming, isn't it?
          
          April smiles.    A smile full of promise.
          
                                                                    14.
          
          
                               APRIL
                    Oh, yes.
          
          
          INT. BANDY'S OFFICE - DAY. PRESENT.
          
          Frank's FIST raps against the door of an office...
          
          TED BANDY, 46, tight and precise, looks up from behind a well-
          organized desk.
          
                              FRANK
                    You wanted to see me?
          
          Bandy holds out an envelope from behind his desk.
          
                              BANDY
                    Came for you from Toledo this
                    morning.
          
          Frank reaches for it, but Bandy moves it out of reach.
          
                              BANDY (CONT'D)
                    This is the third one this month.
          
                              FRANK
                    Oh, right, sorry. I thought I'd
                    taken care of that...
          
          Frank reaches again, but Bandy moves it.   A little man
          enjoying his power.
          
                              BANDY
                    I'm not prepared to have this
                    conversation again, Frank. You
                    understand?
          
                              FRANK
                    ...Absolutely, yes.
          
                              BANDY
                    These folks in the provinces look
                    up to us, Frank.    We need to be
                    efficient. We can't have this kind
                    of back and forth, and so forth.
                    It's just not efficient. Am I
                    right?
          
                                                                    15.
          
          
                              FRANK
                    ...Absolutely, yes, yes...
          
          Bandy finally hands over the envelope.
          
          
          INT. KNOX 15TH FLOOR, FRANK'S CUBICLE - DAY.
          
          Frank sits at his desk.
          
                              JACK
                    What was that about?
          
                              FRANK
                    Toledo. Branch manager wants a
                    revised brochure for the conference
                    on "The Knox 500."
                        (impersonating Bandy)
                    "It's just not efficient."
          
                              JACK
                        (sharp inhale)
                    Sounds like a real goodie.
          
                              FRANK
                    I don't even know what the Knox 500
                    does... Do you?
          
                              JACK
                    Don't insult me.
          
          Frank drops it in his In Box. Then, looking up, he sees
          Maureen across the office. Thinks.
          
          
          INT. KNOX 15TH FLOOR, MAUREEN'S DESK - DAY.
          
          Frank stands over Maureen at her desk.   The envelope from
          Toledo lies in front of her.
          
                              FRANK
                    Now, if you'll look in the inactive
                    file under SP-1109 you'll find
                    copies of all the stuff we sent to
                    the agency... and that way we can
                    trace the thing back to its
                    original sources.
          
                                                                    16.
          
          
          She nods, jotting down a note.
          
          For the first time, Frank allows himself to take in her
          profile, her cleavage, her lips.
          
                              FRANK (CONT'D)
                    I hope you weren't planning on an
                    early lunch.
          
                              MAUREEN
                    I'm not really hungry.
          
                              FRANK
                    Good. I'll check on you later.
          
          
          INT. ALGONQUIN HOTEL RESTAURANT - AFTERNOON.
          
          Maureen and Frank sit in a secluded corner.    Maureen sips a
          martini. She's already a little drunk.
          
                              FRANK (CONT'D)
                    You know something? You're lucky
                    you met me.
          
                                MAUREEN
                    Oh?    How's that?
          
                              FRANK
                    I can show you the ropes. There's
                    an art to survival at Knox. Let me
                    show you what I mean.
          
          He waves over the waiter.
          
                              FRANK (CONT'D)
                    Bring me the telephone would you?
                    And two more martinis.
          
          Maureen looks daunted at her empty glass.
          
                                MAUREEN
                    Wow.
          
          The waiter brings over the phone. Frank dials. He holds his
          finger to his lips. He uses an authoritative tone.
          
                                                                  17.
          
          
                              FRANK
                    Hello Mrs. Jorgensen. Frank
                    Wheeler here. Just wanted to let
                    you know that I've had to send
                    Maureen Grube down to Visual Aides
                    for me. I'll probably need her the
                    rest of the day... Okay? Fine.
                    You too.
          
          Frank hangs up and smiles at Maureen.
          
                              MAUREEN
                    I never even heard of Visual Aides.
          
                              FRANK
                    That's because it doesn't exist.
          
          Maureen smiles.
          
          
          INT. WHEELER HALLWAY - DAY.
          
          Now we're moving behind April as she moves through the silent
          house. She carries a basket of dirty laundry on her hip.
          She pulls the bedding off the couch. The distant SOUND of
          children playing.
          
                                MRS. GIVINGS (O.S.)
                    Yoo-hoo!
          
          She turns to see Mrs. Givings at the screen door.
          
          April manages a friendly smile.
          
                                APRIL
                    Hi Helen.
          
                              MRS. GIVINGS
                    I can't stay a minute... My, don't
                    you look comfy! I just wanted to
                    bring this sedum for that messy
                    patch in the front yard.
          
          She puts it on the table.
          
                                                                 18.
          
          
                              MRS. GIVINGS (CONT'D)
                    All it wants is just a tiny dollop
                    of water for the first few days,
                    and you'll find it absolutely
                    thrives.
          
                              APRIL
                    Well, thank you... You want some
                    coffee?
          
                              MRS. GIVINGS
                    Only if you're having some.
          
          Helen sits down. With the end of her finger, she pushes a
          dirty dish out of her way.
          
                              APRIL
                    Is there something I can do for
                    you, Helen?
          
                              MRS. GIVINGS
                    Oh... yes, I almost forgot. I do
                    have a small favor I'd like to
                    ask...
                        (quiver of anxiety )
                    It's about my son, John. He's been
                    in the hospital.
          
                              APRIL
                    I'm sorry to hear that.
          
                              MRS. GIVINGS
                    Well, actually, just for the
                    present, he's in Pleasant Brook...
                    Psychiatric.
          
          April's face.   She knows what it means.
          
                              APRIL
                    ...I'm so sorry.
          
                              MRS. GIVINGS
                    Oh... Nothing serious. He just
                    got a little run down. Things can
                    just get the better of us
                    sometimes. Don't you think?
          
                                                                  19.
          
          
                                APRIL
                    Yes.    Of course.
          
          Mrs. Givings smiles. Then, pretending to read the titles on
          a stack of books on the table...
          
                              MRS. GIVINGS
                    It really is a marvellous facility
                    and the treatments seem to be doing
                    him wonders... Anyway, they said
                    getting out for an afternoon might
                    do him some good.
          
          She pauses on Sartre's `Nausea', looks at it vaguely.
          
                              MRS. GIVINGS (CONT'D)
                    I think he finds my friends a
                    little conventional, frankly. I
                    mean, he's travelled. He has a PhD
                    in mathematics. I suppose you
                    could say he's an intellectual. It
                    would do him a world of good to
                    meet a young couple like you.
          
                              APRIL
                    We'd love to Helen.
          
                              MRS. GIVINGS
                    So, I thought perhaps if you had
                    some time...
          
                              APRIL
                    We'd love to.
          
                              MRS. GIVINGS
                        (flushed with relief)
                    Thank you, dear... Thank you.
          
          April smiles generously.
          
                              MRS. GIVINGS (CONT'D)
                    I remember when you first came off
                    the train. You weren't like most
                    of my clients. You were different,
                    somehow.
          
          April's face.    She's listening.
          
                                                                        20.
          
          
                              MRS. GIVINGS (CONT'D)
                    Well, you looked simply ravishing
                    and I just knew Frank did something
                    terribly brilliant in town. You
                    just seemed... special... Of
                    course you still are.
          
          April takes this in.
          
          
          INT. WHEELER HOUSE - AFTERNOON.
          
          April watches from the picture window as Mrs. Givings walks
          down the drive towards her car. Her face is reflected in the
          glass. Something is taking shape in her mind.
          
          
          INT. ALGONQUIN RESTAURANT BAR - AFTERNOON, LATER.
          
          The dining room is now almost empty.     Waiters and busboys eat
          in the corner.
          
          Frank cuts a solitary figure.     He lights his last cigarette
          and crumples the pack.
          
                              MAUREEN (O.S.)
                    I guess you got me a little drunk.
          
          Maureen slides into the booth.     She stares at the table,
          trying to focus.
          
                              FRANK
                    You know what today is?
          
                                 MAUREEN
                    ...Monday?
          
                               FRANK
                    It's my birthday.      I'm thirty years
                    old today.
          
                              MAUREEN
                    Happy birthday!
          
          Maureen raises her glass, then sways drunkenly.
          
                                                              21.
          
          
                              MAUREEN (CONT'D)
                    What was the name of the department
                    you made up again?
          
                              FRANK
                    Visual Aides.
          
                              MAUREEN
                    ...What-a-joke.
          
          He sips his drink.
          
                              FRANK
                    Want to hear a real joke...?
          
          She looks up at him.
          
                              FRANK (CONT'D)
                    My old man worked at Knox.
          
                                 MAUREEN
                    Yeah?
          
                              FRANK
                    He was a salesman in Yonkers. Once
                    a year he used to take me into the
                    city for lunch. It was supposed to
                    be a special, life-advice sort of
                    occasion.
          
                                 MAUREEN
                    Nice.
          
                              FRANK
                    Not really... I used to sit there
                    and think, `I hope to Christ I
                    don't end up like you.'
          
          Frank grins as if it's supposed to be very funny.
          
                              FRANK (CONT'D)
                    And here I am, a thirty year old
                    Knox man. Can you beat that?
          
                              MAUREEN
                    I think I kind of lost you...   Your
                    father worked for Knox...?
                              (MORE)
          
                                                                     22.
          
                              MAUREEN (CONT'D)
                    I'm sorry, but everything's kinda
                    going out of focus.
          
          Frank takes her arm to steady her.   She meets his eye.
          
                              FRANK
                    How `bout some air?
          
          
          INT. WHEELER KITCHEN - DAY.
          
          Close on a hand opening an old cigar box.
          
          April is sitting with the box at the kitchen table. It
          contains various sentimental knickknacks from her past,
          including photos of the kids, of her and Frank in New York
          with friends, and a photograph of Frank in uniform beneath
          the Eifel tower on liberation day... She studies it.
          
          
          INT. BETHUNE STREET APARTMENT - DAWN, 1947. FLASHBACK
          
          Frank fixes coffee in the tiny kitchen.
          
          April is sitting up in bed in the first blue light of day
          wearing Frank's T-shirt. She holds a curled collection of
          black and white photographs in her lap. She stops on the
          same picture of Frank and the Eifel Tower.
          
          Frank comes over with the coffee, and two cigarettes.     He
          lights them both, and gives her one.
          
                              FRANK
                    You ever been to Paris?
          
                              APRIL
                    I've never really been anywhere.
          
                              FRANK
                    Maybe I'll take you with me.
          
          He lies down with his cigarette between his teeth.
          
                              FRANK (CONT'D)
                    I'm going back first chance I get.
                    People are alive there.
          
          He stares up at the ceiling.    She studies him.   Appraising.
          
                                                                   23.
          
          
                              FRANK (CONT'D)
                    All I know now is that I want to
                    feel things. Really feel them.
                    How's that for an ambition...?
          
                              APRIL
                    Frank Wheeler?
          
                                 FRANK
                    Mm?
          
                              APRIL
                    I think you're the most interesting
                    person I've ever met.
          
          He looks at her, overwhelmed by her face in the light.
          
                                 APRIL (CONT'D)
                    I mean it.
          
          
          INT. MAUREEN'S APARTMENT - AFTERNOON
          
          Frank stands at the mantle tying his tie.
          
                              FRANK
                    Well, I guess this wasn't what you
                    had in mind when you went to work
                    this morning?
          
          Maureen covers herself with the sheets.
          
                               MAUREEN
                    No.   It certainly wasn't.
          
          Frank inspects the contents of the mantle: photos of Maureen
          at the prom; Maureen with her parents.
          
          Maureen tentatively fingers her hair that has now gone to
          frizz. The sheet slips down. She grabs at it. Then wills
          herself to calm down and act sophisticated.
          
                              MAUREEN (CONT'D)
                    Do you have a cigarette, Frank?
          
          He turns and smiles at her.
          
                                                                     24.
          
          
                              FRANK
                    Sure, here.
          
          He comes over and gives her one. Lights it with his Zippo.
          She exhales, slowly gaining confidence.
          
          Frank gets up and pulls on his jacket.
          
                              MAUREEN
                    Can I get you a drink or anything?
          
                              FRANK
                    No thanks, Maureen. Actually, I
                    guess I'd better be cutting out,
                    it's getting kind of late.
          
                              MAUREEN
                    Gee, that's right.   Have you missed
                    your train?
          
                              FRANK
                    It's all right, I'll get the next
                    one.
          
          He comes over to her.   Bends down, kisses her gently on the
          lips.
          
                              FRANK (CONT'D)
                    Listen: you were swell. Take care
                    now.
          
          
          INT. FRANK'S STATION CAR/WHEELER HOUSE - NIGHT.
          
          Frank's station car turns into the driveway.     He sits there a
          moment in the darkness.
          
          
          EXT. WHEELER FRONT DOOR - NIGHT.
          
          Frank approaches the door with his key. He takes a moment to
          gather himself, but before he can, the door opens.
          
          April is dressed in a black cocktail dress. She looks
          wonderful. She smiles. She steps forward and takes his face
          in her hands. She kisses him.
          
                                                                    25.
          
          
                                 APRIL
                    Frank...
          
                              FRANK
                    Why are you all dressed up?
          
          She hands him a glass of whiskey and closes his fingers
          around it.
          
                              APRIL
                    First of all, I missed you all day
                    and I want to say I'm sorry. I'm
                    sorry for the way I've been since
                    that stupid play. I'm sorry for
                    everything and... And I love
                    you... Now wait here till I call
                    you. Okay?
          
          She goes, leaving Frank in stunned silence.    He takes a large
          drink.
          
          From inside the house, the sound of the children's voices.
          Whispering, giggling. Then April's voice:
          
                              APRIL (O.S.) (CONT'D)
                    Alright Frank! You can come in
                    now!
          
          
          INT. WHEELER LIVING AND DINING ROOMS - NIGHT.
          
          Frank enters the house.    Walks through the darkened living
          room towards the light.    Enters the dining room.
          
          The room is lit by the candles burning on a birthday cake.
          
          JENNIFER, 7, MICHAEL, 5, and April sit around the table
          wearing paper birthday crowns.
          
          They sing Happy Birthday.
          
          
          INT. SHOWER - NIGHT.
          
          Frank scrubs his skin, his scalp, his face: trying to wash
          away Maureen.
          
                                                                      26.
          
          
          He turns off the water.   He stands there in the silence,
          regaining control.
          
          
          INT. FRANK AND APRIL'S BEDROOM - NIGHT.
          
          Frank steps out of the bathroom. April turns from the mirror
          wearing the silk negligee and comes towards him with two
          glasses.
          
                              APRIL
                    Frank. I have had the most
                    wonderful idea. I've been thinking
                    about it all day.
          
                              FRANK
                    What's all this about?
          
                              APRIL
                    You know how much money we have
                    saved...?
          
          She hands Frank a glass of brandy.
          
                               APRIL (CONT'D)
                    Enough to live on for six months
                    without you earning another dime.
                    And with the money we could get
                    from the house and the car, longer
                    than that.
          
                              FRANK
                    What we get for the house...What
                    are you talking about? Where are
                    we going to live?
          
                                APRIL
                    ...Paris.
          
          Frank stares.
          
                              APRIL (CONT'D)
                    You always said it was the only
                    place you'd ever been that was
                    worth living. So why don't we go
                    there?
          
                                                            27.
          
          
                              FRANK
                    You're serious?
          
                               APRIL
                    Yes.   What's stopping us?
          
                              FRANK
                    What's stopping us? Well, I can
                    think of a lot of things. For
                    instance, what kind of a job could
                    I possibly get?
          
                              APRIL
                    You won't be getting any kind of
                    job, because I will.
          
          Frank laughs.
          
                                 FRANK
                    Oh, right.
          
                              APRIL
                    Don't laugh -- listen a minute!
                    Have you any idea what they pay for
                    secretarial positions in the
                    government agencies in Europe?
                    Embassies and those things.
          
          Frank laughs again.
          
                              FRANK
                    No, I don't.
          
                              APRIL
                    I'm serious about this Frank. Do
                    you think I'm kidding or something?
          
                              FRANK
                    No, I know, I know. I just have a
                    couple of questions, is all. For
                    one thing, do you mind telling me
                    what exactly I'm supposed to be
                    doing while you're out earning all
                    this money?
          
          She draws back, shocked that he doesn't get it.
          
                                                                   28.
          
          
                              APRIL
                    Don't you see that's the whole
                    idea? You'll be doing what you
                    should've been allowed to do seven
                    years ago. You'll have time,
                    Frank. You'll have time to find
                    out what it is that you actually
                    want to do, and when you figure it
                    out you'll have the time and the
                    freedom to start doing it.
          
                              FRANK
                    Sweetheart, it's just not very
                    realistic, is all.
          
                              APRIL
                    Well, I happen to think this is
                    unrealistic. I think it's
                    unrealistic for a man with a fine
                    mind to go on working like a dog
                    year after year at a job he can't
                    stand, coming home to a place he
                    can't stand, to a wife who's
                    equally unable to stand the same
                    things.
          
          Frank is silent.   How could anyone possibly argue with her?
          
                              APRIL (CONT'D)
                    You want to know the worst part?
                    Our whole existence here is based
                    on this great premise that we're
                    somehow very special and superior
                    to the whole thing, and you know
                    what I've realized...? We're not!
                    We're just like everyone else.
                    Look at us!   We've bought into the
                    same ridiculous delusion. This
                    idea that you have to resign from
                    life and settle down the moment you
                    have children. And we've been
                    punishing each other for it.
          
                              FRANK
                    Listen: we decided to move out
                    here. No one ever forced me to
                    take the job at Knox.
                              (MORE)
          
                                                          29.
          
                              FRANK (CONT'D)
                    I mean who ever said I was supposed
                    to be a big deal, anyway?
          
                              APRIL
                    When I first met you, there was
                    nothing in the world you couldn't
                    do or be.
          
                              FRANK
                    I was a little wise guy with a big
                    mouth, that's all.
          
                              APRIL
                    You were not! How can you even say
                    that?
          
                              FRANK
                    ...All right... So, I'll have
                    time. And God knows that's
                    appealing. It's very appealing.
                    And I mean, everything you say
                    might make a certain amount of
                    sense, if I had some definite
                    talent maybe. If I were an artist
                    or a writer.
          
                              APRIL
                    But Frank, listen to me: It's what
                    you are that's being stifled here.
                    It's what you are that's being
                    denied and denied and denied in
                    this kind of life.
          
                              FRANK
                    And what's that?
          
                              APRIL
                    Don't you know...?
          
          He looks at her.   She gazes back at him.
          
                              APRIL (CONT'D)
                    You're the most valuable and
                    wonderful thing in the world...
                    You're a man.
          
                                                                   30.
          
          
          Frank looks at her. In that moment, he loves her more than
          ever before. He kisses her.
          
                              APRIL (CONT'D)
                    This is our chance, Frank.   This is
                    our one chance.
          
          Beat.
          
                               FRANK
                    Okay.
          
                               APRIL
                    Okay?
          
                              FRANK
                    Why not...? Why the hell not?
          
          April throws her arms around him.
          
          
          INT. KNOX 15TH FLOOR, ELEVATOR BAY - MORNING.
          
          DING. The elevator doors slide open.   Frank steps onto the
          fifteenth floor, full of energy.
          
          
          INT. KNOX 15TH FLOOR, FRANK'S CUBICLE - MORNING.
          
          Frank arrives at his desk.   Casually tosses his briefcase
          down. Lights a cigarette.
          
          Jack stands nearby making idle chat with office co-workers,
          ED SMALL, 36 and VINCE LATHROP, 33 - a pair of overgrown
          children.
          
                              JACK
                    Ah, Franklin. Good to see your
                    shining face.  What's the news?
          
                              FRANK
                    I'm moving to Paris.
          
                               JACK
                    Right.   And I'm moving to Tangiers.
          
          Frank shrugs, smiles, picks up the Toledo file, scans it.
          
                                                                   31.
          
          
          He reaches for his Dictaphone and clears his throat.
          
                              FRANK
                    ...Intra-company letter to
                    Toledo... Attention B.F. Chalmers,
                    branch manager... With regard to
                    recent and repeated correspondence,
                    this is to advise that the matter
                    has been... very satisfactorily
                    taken in hand, period, paragraph.
          
          He takes out a cigarette.
          
                              FRANK (CONT'D)
                    We wholly agree that the existing
                    brochure is unsuitable. To this
                    end we have developed...
          
          He lights the cigarette with a SNAP of his Zippo.
          
                              FRANK (CONT'D)
                    "Speaking of Production Control..."
          
          Smiles. He's making it up as he goes, and enjoying it.   It's
          all meaningless now!
          
          
          INT. AMERICAN EXPRESS OFFICE - DAY.
          
          April sits in the American Express office.
          
                              CLERK (O.S.)
                    Here you are Mrs. Wheeler:
          
          A handsome CLERK smilingly hands her a stack of documents.
          
                              CLERK (CONT'D)
                    Here's the travellers checks you
                    asked for... and your steamer
                    reservations... and these I'll pass
                    on to the embassy for you.
          
                                 APRIL
                    Thank you.
          
          She looks at them in her hands: it's real.
          
                                                                    32.
          
          
                                 CLERK
                    Good luck.
          
          April smiles.
          
          
          INT. MIDTOWN RESTAURANT - DAY.
          
          Jack, Frank, Ed and Vince sit crammed in a booth in a tiny,
          crowded Midtown Luncheonette.
          
          Frank looks pleased with himself.    The rest sit in stunned
          silence.
          
                              JACK
                    And when does this noble experiment
                    commence?
          
                                 FRANK
                    September.     October at the outside.
          
          Jack and Vince exchange a look.
          
          Frank's enjoying the effect.
          
                              FRANK (CONT'D)
                    I just happen to think people are
                    better off doing some kind of work
                    they actually like.
          
                              ED
                        (vague)
                    Right, yes.
          
                              VINCE
                        (mumbled)
                    Absolutely, absolutely.
          
                              JACK
                    But... I mean, assuming there is a
                    true vocation waiting for you.
                    Wouldn't you be just as likely to
                    discover it here as there?
          
          A waitress puts the check on the table.
          
                                                                    33.
          
          
                              FRANK
                    No... I don't think it's possible
                    to discover anything on the
                    fifteenth floor of the Knox
                    building, and I don't think any of
                    you do either.
          
          The men are silent.   Frank picks up the check.
          
                              FRANK (CONT'D)
                    This one's on me.
          
          
          EXT GRAND CENTRAL STATION - AFTERNOON
          
          Frank is standing leaning against a coffee bar in Grand
          Central Station. He is finishing a beer.
          
          It is rush hour, and amidst the sea of people, he is the only
          one not moving.
          
          He is watching all the people walking by with an air of
          detached amusement. As if he were now above them all.
          
          
          EXT. SPACE BETWEEN TRAIN CARS - AFTERNOON.
          
          Frank rides between train cars. The wind whips his hair. He
          takes a deep pull from a pinched cigarette - then flicks it
          straight as a bullet into the passing countryside.
          
          He feels alive.
          
          
          EXT. REVOLUTIONARY ROAD TRAIN STATION - AFTERNOON.
          
          The commuter train slows into the station. A door swings
          open. And Frank leaps from the still moving train onto the
          platform. He slows to a walk.
          
          
          EXT. WHEELER HOUSE - LATE AFTERNOON.
          
          The kids dance back and forth through the sprinkler,
          shrieking with pleasure.
          
          April sits on the steps in front of the house reading some
          material from the American Express office.
          
                                                                     34.
          
          
          She looks up as Frank's car pulls into the drive. He steps
          out of the car and comes towards her. She looks up and
          smiles. He drops his brief case on the ground and walks
          towards her. She meets him in the middle of the lawn, and
          they embrace.
          
          
          INT. FRANK AND APRIL'S BEDROOM - EVENING.
          
          CLOSE UP - two fingers walk the journey from New York to
          Paris across the page of an atlas.
          
          Michael and Jennifer, dressed for bed, sit sandwiched between
          April and Frank under the bedclothes.
          
                              APRIL
                    ...All the way to... here.
          
          A pause as the two kids stare at the Atlas.
          
                               JENNIFER
                    But why?
          
                              APRIL
                    Well, sweetheart. It's a big world
                    out there and we thought maybe we
                    should go see a little bit of it.
          
                              MICHAEL
                    How far is it?
          
                              APRIL
                    A long way. We have to take a
                    boat ride over the sea to get
                    there.
          
                              JENNIFER
                    I won't know anyone there.
          
                              APRIL
                    I know. And neither will I. But
                    remember when you started school?
                    And now look how many friends you
                    have...
          
          Frank senses that they are a little concerned.   April and
          Frank look to one another.
          
                                                                    35.
          
          
                              FRANK
                    You'll never guess what they eat in
                    Paris. You'll never guess...
          
                               JENNIFER
                    What?
          
                               FRANK
                    Snails.
          
                               JENNIFER/MICHAEL
                    Snails?!
          
                              APRIL
                    And frog's legs!
          
          The children dissolve into disgusted laughter.    April and
          Frank laugh with them.
          
          
          INT. CAMPBELL FRONT HALLWAY - LATE AFTERNOON.
          
          At the bottom of the stairs, Shep hums a big band number as
          he vigorously shines his shoes.
          
                              SHEP
                    Buddappa banh!     Banh!   Banh!
          
          He takes a swig of beer and lets out a satisfied belch.
          
          
          INT. MILLY AND SHEP'S BEDROOM - LATE AFTERNOON.
          
          Milly sits at a vanity table doing her face. She wears a
          floral dress and her hair's been done. She looks at Shep in
          the mirror.
          
                               MILLY
                    You better get changed, they'll be
                    here soon.
          
                              SHEP
                    That what you're wearing?
          
                              MILLY
                        (panic)
                    Don't you like it?
          
                                                                     36.
          
          
                             SHEP
                    ...No... No. You look great,
                    doll. Guess I better haul ass.
          
          He walks into the bathroom.    Milly looks back at her
          reflection.
          
          
          INT. CAMPBELL KITCHEN - LATE AFTERNOON.
          
          The small explosion of a beer can opening.
          
          Shep watches the golden liquid fill his glass.
          
          
          INT. CAMPBELL FAMILY ROOM - LATE AFTERNOON.
          
          Shep walks through the living room with his glass of beer.
          He's halfway across the room, before he notices -
          
          His four SONS dressed in matching pajamas, propped up on
          their elbows chewing gum at the television screen.
          
                                 SHEP
                    Hiya gang.
          
          They don't even look up.
          
          
          EXT. CAMPBELL HOUSE - EVENING.
          
          Shep walks across the grass to the edge of his property. He
          drinks and looks down over Revolutionary Road. He can see
          the Wheeler house. He takes a drink of beer, his eyes
          focused on the house.
          
                                 MILLY (O.S.)
                    Shep?
          
          Shep wheels around. April and Frank are standing there with
          Milly. April wears a new indigo silk dress. Her hair moves
          in the warm breeze. She's never looked better.
          
          
          INT. CAMPBELL LIVING ROOM - NIGHT.
          
          Shep mixes drinks with his back to the room.
          
                                                                  37.
          
          
          Milly walks in and places two heaping trays of hors d'ouvres
          on the coffee table.
          
                              APRIL
                    Oh those look great.    I'm starving!
          
          April helps herself.
          
                              MILLY
                    April, I can't get over it - you
                    look like the cat who ate the
                    canary! Do you have something to
                    tell us? A little bit of news?
          
                              SHEP
                        (disapproving)
                    Not to pry or anything.
          
                              MILLY
                        (suddenly unsure)
                    I'm not prying. Am I prying?    I
                    didn't mean to.
          
                              FRANK
                    Actually, we have got some pretty
                    important news.
          
          Shep and Milly look up expectantly.
          
          He smiles conspiratorially at April.
          
                              FRANK (CONT'D)
                    You want to tell `em?
          
          April smiles back at him.
          
                              APRIL
                    We're going to Europe.    To Paris...
                    To live.
          
          Milly's face drops.    Shep is frozen.
          
          Overlapping:
          
                                 MILLY
                    What?
          
                                                                  38.
          
          
                                  SHEP
                     When?
          
                                  MILLY
                     Why?
          
                                  FRANK
                     September.
          
          Beat.   Then:
          
                               MILLY
                     But what for?
          
                               FRANK
                     What for? Because we've always
                     wanted to. Because the kids are
                     still young. Because it's
                     beautiful. Shep, you tell her.
          
                               SHEP
                     ...It's a great city.
          
          Milly glances nervously at Shep.
          
                               MILLY
                     When did you make this decision?
          
                               APRIL
                     Oh... about a week ago... its hard
                     to remember. We just suddenly
                     decided to go, that's all.
          
                               MILLY
                     About a week ago, and you tell us
                     now!
          
                               APRIL
                     We had to get used to the idea.
          
          Shep forces himself across the room and hands the Wheelers
          their drinks.
          
                               SHEP
                     So, what's the deal, Frank? You
                     get a job over there, or what?
          
                                                        39.
          
          
                            FRANK
                      (smiles)
                  No. Not exactly.
          
                            SHEP
                  What do you mean, `not exactly?'
          
                            APRIL
                  Frank won't be doing any kind of a
                  job, because I will.
          
                            SHEP
                      (to Frank)
                  And what are you going to do?
          
                            FRANK
                  I'm going to study... and I'm going
                  to read and... I suppose I'm going
                  to finally figure out what I want
                  to do with my life.
          
                            SHEP
                  ...While she supports you?
          
          Beat.
          
                            FRANK
                  Yes. While she supports me...   At
                  least in the beginning.
          
                            APRIL
                  You wouldn't believe what they pay
                  for secretarial work in government
                  agencies over there. NATO and
                  E.C.A. and those places.
          
                             FRANK
                  The cost of living is dirt cheap
                  compared to here, so we should be
                  all right.
          
          Beat.
          
                             APRIL
                  The truth is we just need something
                  different.
                             (MORE)
          
                                                                   40.
          
                               APRIL (CONT'D)
                     We're not getting any younger and
                     we don't want life to just pass us
                     by.
          
                               MILLY
                     Gee, it sounds wonderful, kids. I
                     mean it; it really sounds
                     wonderful. We'll certainly miss
                     you, though - won't we, sweetie?
                     Golly.
          
                                SHEP
                     Sure.
          
                                MILLY
                     Paris.   Wow.
          
          A   silence.   Shep's face.
          
          
          INT. MILLY AND SHEP'S BEDROOM - NIGHT.
          
          Milly sits on the edge of the bed in her night gown.   She is
          brushing her hair.
          
          Shep stands in the open doorway to the bathroom, doing up his
          pyjamas. After a beat...
          
                               SHEP
                     You know what I think?
          
          Milly looks up.
          
                               SHEP (CONT'D)
                     I think this whole plan sounds a
                     little immature.
          
          Milly's face brightens.
          
                               MILLY
                     Oh God, I'm so relieved. Me too...
                     I was thinking that the whole time.
          
                               SHEP
                     What kind of man is going to sit
                     around in his bathrobe picking his
                     nose while his wife works all day?
          
                                                                     41.
          
          
                              MILLY
                    I don't know, Shep.   I just don't
                    know.
          
          Milly is crying.
          
                              SHEP
                    What is it?
          
                               MILLY
                    Nothing.   I'm just so relieved.
          
          He sits down beside her.   She falls into his arms.
          
                              SHEP
                    Come on. Don't cry. Please. It's
                    all right. It's going to be all
                    right.
          
          A kid's shout from somewhere in the house.     Milly sits up.
          
                               SHEP (CONT'D)
                    I'll go.
          
          
          INT. WHEELER KITCHEN - LATER THAT NIGHT.
          
          Frank and April burst into the kitchen, laughing.
          
          
                               FRANK
                    Jesus, their faces! You'd think
                    we'd told them that we were
                    swimming up the Yangtzee river or
                    something.
          
          Laughing, April hands Frank a drink.
          
                              FRANK (CONT'D)
                    You know what this is like, April?
                    Talking like this? The whole idea
                    of taking off to Europe this way?
                    It's like the way I felt going up
                    to the line the first time, in the
                    war. I was probably just as scared
                    as everyone else, but inside I
                    never felt better. I felt alive. I
                    felt full of blood.
                              (MORE)
          
                                                                      42.
          
                              FRANK (CONT'D)
                    And everything looked more real.
                    The guys in their uniforms. The
                    snow on the fields, the trees. And
                    all of us just... walking. I mean
                    I was scared of course. But I kept
                    thinking: this is it. This is the
                    truth.
          
                              APRIL
                    I felt that way once too.
          
          He looks at her.   And there's something in her eyes.
          
                                 FRANK
                    When?
          
                              APRIL
                    The first time you made love to me.
          
          He walks over to her and kisses her passionately.
          
          And they make love that way, face to face, with the lights
          on, looking into each other's eyes, fully clothed, until he
          comes inside her.
          
          As he comes, she makes a sound, almost inaudible, but it
          sounds like...
          
                                 APRIL (CONT'D)
                    ...No
          
          He holds her, breathing heavily.    She strokes his head.
          
          
          INT. KNOX 15TH FLOOR - DAY.
          
          Frank walks across the 15th floor, the atmosphere unusually
          abuzz.
          
          He arrives in his cubicle. Jack, Ed and Vance are talking in
          hushed tones.
          
                                 FRANK
                    What's up?
          
                              ED
                    Bart Pollock is here.
          
                                                                    43.
          
          
                              VINCE
                    He's in Bandy's office.
          
                              FRANK
                        (unimpressed)
                    Yeah?
          
          A small signal light illuminates on Frank's desk.
          
                              ED
                    Looks like he wants to talk to you.
          
          Frank looks around. They're all looking at him.     He looks
          over in the direction of Bandy's office.
          
                               JACK
                    Hey.   Keep my name out of it.
          
          
          INT. KNOX 15TH FLOOR, BANDY'S OFFICE - DAY
          
          Bandy looks up from his desk.   An uncharacteristic smile.
          
                               BANDY
                        (warm)
                    Frank. How are you? You know Bart
                    Pollock?
          
                              FRANK
                    Well, we've never met, but -
          
          A massive MAN in tan gaberdine rises up from a chair.
          
                              BART POLLOCK
                    Glad to know you Frank.
          
          He holds a file in his enormous hand.
          
                              BART POLLOCK (CONT'D)
                    Speaking of production control?
          
          Frank looks away, ready for a dressing down.
          
                              BART POLLOCK (CONT'D)
                    Frank... This is a crackerjack.
                    They're just tickled to death in
                    Toledo.
          
                                                                      44.
          
          
          He slaps the file on the desk.    Frank can't believe it.
          
          
          INT. WHEELER LIVING ROOM - DAY.
          
          Close of a book: "Brighter French."
          
          Frank sits on the couch, flipping absently.
          
                              FRANK
                    You wouldn't have believed this
                    guy.
          
          April enters carrying a plate of sandwiches.
          
                              FRANK (CONT'D)
                    He's perfect Presidential material
                    in the worst sense. A million
                    dollar smile and about three pounds
                    of muscle between his ears.
                        (mimicking Pollock's
                         booming voice)
                    "Frank, this is a crackerjack."
          
          April looks around to be sure everything's in place.
          
                              APRIL
                    Wish I saw his face when you told
                    him you were leaving.
          
          Frank looks away.
          
                              FRANK
                    ...Horse's ass.
          
          TOOT of a car horn.   April goes to the window.
          
                              APRIL
                    I think this is them.
          
          
          INT./EXT. WHEELER HOUSE - DAY.
          
          Through the picture window, we see the Givings' car is parked
          in the driveway.
          
          Mrs. Givings gets out of the car holding a tinfoil covered
          baking pan. Mr. Givings opens the backseat.
          
                                                                    45.
          
          
          Out steps JOHN, 30's, an institutional haircut and ill-
          fitting suit. He looks around the sunny neighborhood.
          
          
          INT. WHEELER KITCHEN - DAY.
          
          The kitchen is suddenly crowded with the Givings, Frank and
          April.
          
          Overlapping:
          
                              MRS. GIVINGS
                    Sorry to be late.
          
                              APRIL
                    You're not late.
          
                              MRS. GIVINGS
                    The traffic was terrible.
          
                              MR. GIVINGS
                    Good to see you.
          
                              MRS. GIVINGS
                    Wasn't it terrible, Howard?
          
                                MR. GIVINGS
                    Route 12.
          
          Hands are shook, the baking dish exchanged.
          
                              APRIL
                    You didn't have to do that.
          
                              FRANK
                    The time they finish that stretch
                    of road, they'll have to start all
                    over again.
          
          John stands by himself closest to the door.
          
                              APRIL
                    And you must be John?
          
          Silence settles over the room.
          
                              MRS. GIVINGS
                    Say hello, John.
          
                                                                  46.
          
          
                              JOHN
                    Nice to meetcha.   Heard a lot
                    aboutcha.
          
          John smiles, exposing a mouthful of deeply-stained yellow
          teeth and high, eroded gums.
          
          
          INT. WHEELER LIVING ROOM - DAY.
          
          Mrs. Givings leads the group into the living room.
          
                              MRS. GIVINGS
                    Where are your darling children?
          
                              APRIL
                    They're at a birthday party.     Sorry
                    they couldn't be here.
          
          John walks around the room, stiff-legged, examining the book
          shelves, the paintings.
          
                              JOHN
                    Don't worry. If I had a certified
                    lunatic coming around the house,
                    I'd probably get the kids out of
                    the way too.
          
          April and Frank exchange a quick glance.
          
                              MRS. GIVINGS
                    Oh, look at all this food! You
                    didn't have to go to any trouble
                    for us.
          
                              APRIL
                    It's just some sandwiches.
          
          April lifts the plate and offers it to John.
          
                              APRIL (CONT'D)
                    John, would you like a sandwich?
          
          He avoids her look, but he takes four.
          
                              JOHN
                    Helen's been talking it up about
                    you people for months.
                              (MORE)
          
                                                             47.
          
                              JOHN (CONT'D)
                    The nice young Wheelers on
                    Revolutionary Road, the nice young
                    Revolutionaries on Wheeler road.
          
          Polite laughter.
          
                              FRANK
                    Who'd like some sherry?
          
                              MRS. GIVINGS
                    Please, don't bother Frank.
          
                              JOHN
                    I'd like some sherry. And I'll
                    drink Helen's if she doesn't beat
                    me to it.
          
          April can't suppress a smile.
          
                               JOHN (CONT'D)
                        (suddenly serious)
                    But, hey... Listen, though. You
                    got a high-ball glass...? Put a
                    couple-three ice cubes in it, pour
                    it up to the brim. That's the way
                    I like it.
          
                              FRANK
                    I think I can do that.
          
          Mr. Givings eats his sandwich, watching his son.
          
                              MRS. GIVINGS
                    Oh, this is the most wonderful egg
                    salad, April. You must tell me how
                    you fix it.
          
          Frank hands John his high-ball glass.
          
                              JOHN
                    You a lawyer Frank?
          
                              FRANK
                    No, I'm not.
          
                              JOHN
                    I could use a lawyer.
          
                                                             48.
          
          
                              MR. GIVINGS
                    John, let's not get started again
                    about the lawyer.
          
                              JOHN
                    Pop, couldn't you just sit there
                    and eat your wonderful egg salad,
                    and quit horning in?
          
          Mr. Givings gives his son a level, warning look.
          
                              JOHN (CONT'D)
                    See, I've got a good many questions
                    to ask and I'm willing to pay for
                    the answers... Now, I don't need
                    to be told that a man who goes
                    after his mother with a coffee
                    table is putting himself in a weak
                    position legally; that's obvious.
          
          Frank and April exchange a look.
          
                              MRS. GIVINGS
                    John, come and have a look out this
                    fabulous picture window.
          
          Mrs. Givings gets up and goes to the window.
          
                              JOHN
                    If he hits her with it and kills
                    her, that's a criminal case.
          
                              MRS. GIVINGS
                    Oh, look, the sun's coming out!
          
                              JOHN
                    If all he does is break the coffee
                    table and give her a certain amount
                    of aggravation and she decides to
                    go to court over it, that's a civil
                    case.
          
                              MRS. GIVINGS
                    Maybe we'll see a rainbow!   John,
                    come have a look.
          
                                                                     49.
          
          
                              JOHN
                    Ma, how about doing everybody a
                    favor? How about shutting up!
          
          April's face.   She's not smiling now.
          
                              MR. GIVINGS
                    Steady down, now.
          
          With her back to the room, Mrs. Givings closes her eyes.
          
                              FRANK
                    I can look into it.   Maybe
                    recommend someone.
          
          John stares at Frank for any sign of condescension.
          
                              JOHN
                    So, what do you do, Frank?
          
                              FRANK
                    I work for Knox Business Machines.
          
                              JOHN
                    You design the machines?
          
                               FRANK
                    Nope.
          
                              JOHN
                    Make `em, sell `em, repair `em?
          
                              MRS. GIVINGS
                    All these questions.
          
                              FRANK
                    I sort of help sell them, I guess.
                    I work in the office. Actually,
                    it's sort of a stupid job. I mean
                    there's nothing  you know,
                    interesting about it or anything.
          
                              MRS. GIVINGS
                    Oh, Frank...
          
                              JOHN
                    Whaddya do it for then?
          
                                                                   50.
          
          

                              MR. GIVINGS
                    Maybe Frank doesn't want to be
                    questioned like this, son.
          
                              JOHN
                    Okay, okay, okay  I know it's none
                    of my business. And besides, I
                    know the answer. You want to play
                    house, you got to have a job. You
                    want to play very nice house, very
                    sweet house, then you got to have a
                    job you don't like. Anyone comes
                    along and asks "Whaddya do it for?'
                    he's probably on a four-hour pass
                    from the State funny farm. All
                    agreed...? Ma?
          
          Frank laughs.
          
          John smiles his yellow grin.
          
                              MR. GIVINGS
                    Sorry, Frank.
          
                              FRANK
                    Don't be. I agree with everything
                    you said, John. We both do.
                    That's why I'm quitting the job in
                    the fall and we're taking off.
          
                              APRIL
                    We're moving to Paris.
          
          John looks over at his mother.
          
                              JOHN
                    Did you know about this, Ma...?
                    Wow. How do you feel about that,
                    Ma? The nice young Wheelers are
                    taking off!
          
          John bursts into a painful braying laugh.   It goes on and on.
          
          Mrs. Givings brings a hand to her brow - she's on the verge
          of tears.
          
                                                                      51.
          
          
                              MRS. GIVINGS
                    ...John, please.
          
                              MR. GIVINGS
                    Steady down, son.
          
          April looks at Frank - the whole thing is in danger of going
          off the rails.
          
                              FRANK
                    How about some fresh air, John?
          
          John stops laughing abruptly.    He looks to his parents.
          
                              FRANK (CONT'D)
                    If that's all right with you?
          
                              MRS. GIVINGS
                    I don't know if it's a good idea.
          
                              MR. GIVINGS
                    ...If John wants to, I don't see
                    the harm.
          
          
          EXT. COUNTRYSIDE - DAY.
          
          Frank, April and John walk through the woods.
          
          The ground is freshly rained on and damp.    The sun is bright.
          
          John buttons up his top button and pulls his sleeves down
          over his hands.
          
                              APRIL
                    I hear you're a mathematician.
          
                              JOHN
                    You hear wrong.     It's all gone now.
          
                                APRIL
                    All gone?
          
                              JOHN
                    You know what electrical shock
                    treatments are?
          
                                                                       52.
          
          
                               APRIL
                    Yes.   Yes I do.
          
                              JOHN
                    I've had thirty-seven.
          
          He pushes his hat back and turns his head at April.
          
                                 JOHN (CONT'D)
                    See?
          
          There are scars on his forehead.       April can see them.
          
                              JOHN (CONT'D)
                    Supposed to jolt out the `Emotional
                    Problems.' Just jolted out the
                    mathematics.

          
                                 APRIL
                    How awful.
          
                              JOHN
                        (mimicking)
                    `How awful...' Why, because
                    mathematics is so `interesting?'
          
                              APRIL
                    No. Because the shocks must be
                    awful and... well, because it's
                    awful not to be able to do what it
                    is you want to do. I think
                    mathematics are dull.
          
          John stares at April.    He smiles.
          
                              JOHN
                    I like your girl, Frank.
          
                                 FRANK
                    Me too.
          
                              JOHN
                    So, what do a couple of people like
                    you have to run away from?
          
                              FRANK
                    We're not running.
          
                                                                    53.
          
          
          John comes to a stop.
          
                              JOHN
                    And what's in Paris?
          
                              APRIL
                    A different way of life.
          
                              FRANK
                    So maybe we are running... We're
                    running from the hopeless emptiness
                    of the whole life here.
          
                              JOHN
                    The hopeless emptiness? Now,
                    you've said it. Plenty of people
                    are on to the emptiness, but it
                    takes real guts to see the
                    hopelessness... Wow.
          
          John continues walking.   Frank and April watch him go.
          
          
          INT. WHEELER LIVING ROOM - DUSK.
          
          Frank and April at the kitchen table.
          
                              APRIL
                    You know, he's the first person who
                    seemed to know what we were talking
                    about.
          
                              FRANK
                    That's true. Maybe we are just as
                    crazy as he is.
          
                               APRIL
                    If being crazy means living life as
                    if it matters then I don't care if
                    we are completely insane.
                        (beat)
                    Do you?
          
                              FRANK
                    No.
          
                              APRIL
                    I love you so much.
          
                                                                    54.
          
          
          EXT. WHEELER HOUSE - DAY
          
          The small, attractive house bathed in sunlight.
          
          
          INT. MIDTOWN HOTEL RESTAURANT - AFTERNOON.
          
          Frank follows Bart Pollock as he cuts a swathe through an
          impressive midtown eatery. A small MAITRE D' scuttles in
          front of them. Bart nods, points at well-wishers, and makes
          a politician's show of knowing the staff.
          
                              BART POLLOCK
                    Tell you something, Frank. I'm a
                    little sore at Bandy for the way
                    he's kept you under a bushel all
                    these years. This place okay, for
                    you?
          
          Frank smirks at the performance.
          
                              FRANK
                    This is just fine, sir.   Fine.
          
          
          INT. MIDTOWN HOTEL RESTAURANT - LATER.
          
          Bart Pollock sits across an expanse of white tablecloth
          gripping a martini glass in one of his enormous paws.
          
                              BART POLLOCK
                    One thing interests me, Frank, and
                    one thing only: selling the
                    electronic computer to the American
                    businessman...
          
                              BART POLLOCK (CONT'D)
                    That's why I'm assembling a team.
                    Men like you, not your average
                    salesmen... It'll mean more money,
                    and I got to be honest, maybe more
                    of a time commitment. But you'll
                    be part of something exciting,
                    Wheeler... Computers.
          
                              FRANK
                    Well, sir, it sounds exciting.
          
                                                                    55.
          
          
                               BART POLLOCK
                    Bart!
          
                               FRANK
                    Bart...
          
          Frank looks down at his plate.   He can't help himself.
          
                              FRANK (CONT'D)
                    Do you happen to remember an Earl
                    Wheeler?
          
          Bart looks at him blankly.
          
                              FRANK (CONT'D)
                    Out of Yonkers?
          
                              BART POLLOCK
                    Can't say that I do. Relation of
                    yours?
          
                              FRANK
                    My father. He worked at Knox
                    almost twenty years.
          
                              BART POLLOCK
                        (thinking)
                    Earl Wheeler... Earl Wheeler...
          
                              FRANK
                    No reason you would have heard of
                    him.
          
                              BART POLLOCK
                    Well, I'm sure he was a good man.
          
          Frank smiles.   Looks down.
          
                              FRANK
                    There's something I should have
                    mentioned earlier... I'm leaving
                    the firm. In the fall.
          
                              BART POLLOCK
                    Another outfit?
          
                              FRANK
                    No, it's not another outfit --
          
                                                          56.
          
          
          Bart holds up his hands.
          
                              BART POLLOCK
                    Now look, Frank. Is it a question
                    of money? Because if it is,
                    there's no reason we can't get
                    together on a satisfactory 
          
                              FRANK
                    I appreciate that, but it's not
                    money. It's more of a personal
                    thing.
          
                              BART POLLOCK
                    A personal thing? I see.
                        (looks down, clearly
                         disapproving)
                    Frank... Let me tell you something
                    my father told me... A man only
                    gets a couple chances in life. If
                    he doesn't grab `em by the balls,
                    it won't be long before he finds
                    himself sitting around wondering
                    how he got to be second rate.
          
          Frank's face.
          
                              FRANK
                    I guess so.
          
          Bart lets it hang.
          
                              BART POLLOCK
                    So, do me a favor... Sleep on it.
                    Discuss it with your wife. Because
                    let's face it: where the hell would
                    any of us be without our wives,
                    anyway?
          
          On Frank's face.
          
                              BART POLLOCK (CONT'D)
                    And Frank, in all sincerity, if you
                    do decide to join us, I believe
                    it'll be a thing you'll never
                    regret.
                              (MORE)
          
                                                                   57.
          
                              BART POLLOCK (CONT'D)
                    And I believe something else, too.
                    I believe it'd be a fine memorial
                    to your Dad.
          
          Frank finds himself surprised by his welling up of emotion.
          
          
          INT. KNOX BUILDING - EVENING.
          
          It's late. Frank is sitting in his cubicle over his
          Dictaphone. Jack is long gone.
          
                              FRANK
                    Knowing what you've got, comma,
                    knowing what you need, comma,
                    Knowing what you can do without,
                    dash. That's inventory control.
          
          He stubs out a cigarette in an overflowing ashtray.
          
          Close on his face.
          
          Maureen stops by Frank's cubicle.   She pretends to be
          surprised to see him.
          
                              MAUREEN
                    Oh, hi Frank. Working late?
          
                              FRANK
                    I got to dig myself out here.
          
                              MAUREEN
                    I heard you were getting promoted.
          
          Frank shrugs, no big deal.
          
                              MAUREEN (CONT'D)
                    Big shot. I guess your Dad would
                    have been real proud, huh?
          
                              FRANK
                        (surprised she remembered)
                    Huh. Yeah, I guess so...
          
                              MAUREEN
                        (smiles sweetly)
                    So...
                              (MORE)
          
                                                                    58.
          
                               MAUREEN (CONT'D)
                    maybe I should buy you a drink or
                    something? You know...?
                    Celebrate.
          
          Frank's face.   We don't know which way he'll go.   He smiles.
          
                               FRANK
                    Yeah.   Maybe.
          
          She smiles.   She can't quite believe it.
          
                              MAUREEN
                    I'll just get my coat.
          
          Frank sits there a moment longer, thinking.    Then he follows.
          
          
          INT. WHEELER FAMILY ROOM - DAY.
          
          On a television. Elmer Fudd points a gun at Bugs Bunny, and
          pulls the trigger.
          
          Frank frowns into his French phrase book.   Mike is watching
          the TV.
          
          April works a sewing machine with a cigarette burning beside
          her. Jennifer stands beside her holding a stuffed Giraffe
          and a list, which she reads.
          
                              JENNIFER
                    I'm going to take my doll carriage
                    and my bear and my three Easter
                    rabbits and my giraffe and all my
                    dolls and my doll house.
          
                              APRIL
                    I thought maybe we'd give the doll
                    house to Madeline.
          
                              JENNIFER
                    No! I don't want to give it to
                    Madeline.
          
          April has to stop to re-thread and she's losing patience.
          
                                                                  59.
          
          
                              APRIL
                    I already explained to you, the big
                    things are going to be hard to
                    pack.
          
          Frank lowers the book.   He recognizes her tone.
          
                              JENNIFER
                    But Madeline can have my bear and
                    my Easter rabbits -
          
                              APRIL
                    No! Just the big things. Look.
                    Wouldn't you rather go outside and
                    play with Michael.
          
                              JENNIFER
                    I don't feel like it.
          
                              APRIL
                    You've been inside all day.
          
                              JENNIFER
                    I don't feel like it!
          
                               APRIL
                    Well, I don't feel like explaining
                    everything fifteen times to
                    somebody who's too bored and silly
                    to listen!
          
          Jennifer turns and runs up the stairs, upset.
          
          April lets out a defeated sigh. She turns to the kitchen to
          see to the supper. Steam rises from the vegetables.
          
          Frank stands in the entrance silently watching for a moment.
          
                              FRANK
                    What's the matter?
          
                               APRIL
                    Nothing.
          
          She carries a pot of steaming, overcooked vegetables to the
          sink, slops them into a colander.
          
                                                                60.
          
          
                              FRANK
                    I don't believe you. Did something
                    happen today or what?
          
                              APRIL
                    Nothing happened today that I
                    haven't known about for days and
                    days.
          
                                 FRANK
                    What?
          
                              APRIL
                    Oh God, Frank, please don't look so
                    dense. Do you mean you haven't
                    guessed or anything?
          
                              FRANK
                    What are you talking about?
          
          She finally stops and looks at him.
          
                              APRIL
                    I'm pregnant, that's all.
          
          Beat as he absorbs it.    He's totally blind-sided.
          
                               FRANK
                    What...?   Jesus.
          
          She comes over to him.
          
                              APRIL
                    Oh, Frank, I meant to wait until
                    dinner to tell you, but I just -
                    well, I've been pretty sure all
                    week and today I went to the Doctor
                    and now I can't even pretend it's
                    not true.
          
                              FRANK
                        (still stunned)
                    Jesus... How long?
          
                                 APRIL
                    Ten weeks.
          
                                                                  61.
          
          
                              FRANK
                    You didn't say anything.
          
                               APRIL
                    I thought... Oh, I don't know what
                    I thought.
          
          He stares, still unsure how he feels.
          
                              APRIL (CONT'D)
                    I'm sorry, Frank. I'm so sorry.
          
                              FRANK
                    I know you are.
          
          She looks at him, with slight desperation.
          
                              APRIL
                    We don't have to let this stop us.
                    There are things we can do.
                    Remember that girl at school I told
                    you about...? As long as you do it
                    before 12 weeks, it's fine.
          
          He just looks at her and his silence makes her desperate.
          
                              APRIL (CONT'D)
                    We've got to be together in this,
                    Frank. Otherwise nothing's going
                    to make any sense.
          
                               FRANK
                    Okay.   We'll figure it out.
          
          He takes her in his arms.
          
                                FRANK (CONT'D)
                    12 weeks.    So we have time.
          
          On Frank's face... Slowly, he smiles.
          
                              APRIL
                    I love you Frank.
          
                              FRANK
                    ...I love you too.
          
                                                                    62.
          
          
          EXT. LONG ISLAND SOUND BEACH - AFTERNOON.
          
          A baking hot day. The sky is electric blue. Radios PLAY,
          children CRY, dogs BARK. Sunbathers cover almost every inch
          of sand.
          
          We find Shep, Milly, Frank and April with beach chairs,
          coolers and umbrellas.
          
          A child wrapped in a towel sleeps on Milly's lap.
          
          April wears a pair of dark glasses, behind which she is
          thinking, thinking.
          
                              SHEP
                    So, Frank, how's work?   They gonna
                    survive without you?
          
                              FRANK
                    Actually... Something kinda funny
                    happened the other day. I did some
                    dumb little piece of work to get
                    myself off the hook with Bandy, and
                    suddenly I'm The Bright Young Man.
          
                              SHEP
                        (laughs)
                    That's always the way, isn't it?
          
                              FRANK
                    It's incredible. I knocked this
                    thing off in a couple of minutes
                    and now they want me to join their
                    team of `specialist' salesmen.
          
                              SHEP
                    Morons.
          
                              FRANK
                    It'd be funny, if they weren't
                    talking about so much damn money.
          
          April turns and looks at Frank. Long and hard.   If he can
          feel her look, he doesn't show it.
          
                                                                    63.
          
          
                              SHEP
                        (stealing a glance at
                         April)
                    So, you tempted?
          
                               FRANK
                        (shrugs)
                    Well, it's kind of ironic, don't
                    you think?
          
          April suddenly stands up.    Frank and Shep watch her walk down
          to the water's edge.
          
                                SHEP
                    She okay?
          
          Frank stares after her.
          
          
          EXT. LONG ISLAND SOUND BEACH, WATER'S EDGE - AFTERNOON.
          
          April stands in the water staring out over the sea. The
          waves break against her ankles. Whether it occurs to her or
          not, she's staring in the direction of Europe.
          
          Frank comes up beside her.
          
                              APRIL
                    I thought you turned the job down?
          
                              FRANK
                        (shrugs)
                    Not yet... It's just an option,
                    that's all. With the money they're
                    talking, things could be different
                    for us here. We could get a better
                    place. Travel.
          
          April shakes her head and drags on her cigarette.
          
                              FRANK (CONT'D)
                    Look, the point is - we could be
                    happy here. At least for a while.
          
          She stares out at the sea.
          
                                                                  64.
          
          
                              FRANK (CONT'D)
                    It is possible that Parisians
                    aren't the only ones who know how
                    to lead interesting lives, April.
          
          She turns to him.
          
                              APRIL
                    So you've made up your mind?
          
                               FRANK
                    No.   Like I said, it's an option.
          
                              APRIL
                    ...And supposing you're right. You
                    make all this money and we have
                    this interesting life here. Won't
                    you still be wasting your life
                    toiling away at a job you find
                    ridiculous? Just like your father.
          
                              FRANK
                        (sharp)
                    Maybe we let that be my business.
          
                              APRIL
                        (incredulous)
                    Your business?
          
                              FRANK
                        (exhales)
                    It's too hot for this.    I'm going
                    to get wet.
          
          She just looks at him. He walks into the ocean.   She stands
          on the shore, watching him swim away from her.
          
          
          INT. WHEELER FAMILY ROOM - NIGHT.
          
          April paces the family room. Her hair is a defiant mess.
          She still wears her bathing suit under her clothes.
          
          Frank sits on the couch.
          
          The windows are open, and most of the lights are off. It's a
          very hot night.
          
                                                                  65.
          
          
                              APRIL
                    You don't want to go, do you?
          
                              FRANK
                    Come on, April.   Of course I do.
          
                              APRIL
                    You don't! Because you've never
                    tried at anything. And if you
                    don't try at anything you can't
                    fail.
          
                              FRANK
                    What the hell do you    mean I don't
                    try? I support you,     don't I? I
                    pay for this house.     I work ten
                    hours a day at a job    I can't stand.
          
                              APRIL
                    You don't have to!
          
                              FRANK
                    Bullshit! I'm not happy about it.
                    But I have the backbone not to run
                    away from my responsibilities!
          
                              APRIL
                    It takes backbone to lead the life
                    you want, Frank.
          
          He shakes his head and gets up.
          
                              APRIL (CONT'D)
                    Where are you going?
          
                              FRANK
                    Is it alright with you if I go to
                    the bathroom?
          
          She disgustedly twists out her cigarette, and immediately
          lights another.
          
          
          INT. WHEELER BATHROOM - NIGHT.
          
          Frank splashes water on his face like a boxer between rounds.
          He looks up at his reflection.
          
                                                                     66.
          
          
          He reaches for a towel, but there isn't one. He turns to the
          shelf behind him and pulls down a fresh towel. Something
          catches his eye.
          
          He reaches to the back and retrieves a small brown paper
          package.
          
          He opens it, his face slowly registering what it means...
          
          
          INT. WHEELER FAMILY ROOM - NIGHT.
          
          April wheels around as -
          
          Frank storms in, a rubber syringe in his hand.
          
                               FRANK
                    What the hell are you going to do
                    with this?
          
                              APRIL
                    And what do you think you're going
                    to do? You're going to stop me?
          
                              FRANK
                    You're damn right!
          
                              APRIL
                    Go ahead and try!
          
          He comes at her across the room with the syringe in his hand.
          She moves away.
          
                              FRANK
                    Listen. Listen to me. You do this
                    - you do this and I swear to God
                    I'll -
          
                              APRIL
                    You'll what? You'll leave me?   Is
                    that a threat, or a promise?
          
          He shakes it in her face.
          
                              FRANK
                    When did you buy this, April?   I
                    want to know!
          
                                                          67.
          
          
                              APRIL
                    You know you really are being
                    melodramatic about the whole thing.
                    As long as it's done in the first
                    twelve weeks, it's perfectly safe.
          
                              FRANK
                    That's now April!   Don't I get a
                    say?
          
                              APRIL
                    Of course you do! It would be for
                    you, Frank, don't you see? So you
                    can have time. Like we talked
                    about.
          
                              FRANK
                    How can it be for me if the thought
                    makes my stomach turn over?
          
                              APRIL
                    Then it's for me... Tell me we can
                    have the baby in Paris, Frank. But
                    don't make me stay here. Please.
          
                              FRANK
                    We can't have the baby in Paris.
          
                              APRIL
                    Why not? I don't need everything
                    we have here. I don't care where
                    we live! I mean who made these
                    rules, anyway? The only reason we
                    moved out here was because I got
                    pregnant. Then we had another
                    child to prove the first one wasn't
                    a mistake. I mean how long does it
                    go on?
          
          He turns away.
          
                              APRIL (CONT'D)
                    Frank. Do you actually want
                    another child? Well, do you?
          
          He won't answer.
          
                                                            68.
          
          
                              APRIL (CONT'D)
                    Come on, tell me. Tell me the
                    truth, Frank. Remember that? We
                    used to live by it. You know what's
                    so good about the truth? Everyone
                    knows what it is, however long
                    they've lived without it. No one
                    forgets the truth, Frank, they just
                    get better at lying. So tell me: do
                    you really want another child?
          
          Frank turns towards her.
          
                              FRANK
                    All I know is what I feel. And
                    anyone else in their right mind
                    would feel the same way.
          
                              APRIL
                        (quiet)
                    But I've had two children.    Doesn't
                    that count in my favor?
          
                              FRANK
                    Christ! The fact that you even put
                    it that way! You make it sound
                    like having children is a
                    punishment.
          
                              APRIL
                    I love my children.
          
                              FRANK
                    And you're sure about that?
          
                              APRIL
                    What the hell is that supposed to
                    mean?
          
                              FRANK
                    April, you just said our daughter
                    was mistake. How do I know you
                    didn't try to get rid of her, or
                    Michael for that matter? How do I
                    know you didn't try to flush our
                    entire fucking family down the
                    toilet?
          
                                                                69.
          
          
                              APRIL
                    No that's not true. Of course I
                    didn't.
          
                              FRANK
                    But how do I know April?
          
                               APRIL
                    Stop.   Please just stop, Frank.
          
                              FRANK
                    April, a normal woman, a normal
                    sane mother doesn't buy herself a
                    piece of rubber tubing to give
                    herself an abortion so she can, go
                    live out some God damn fantasy.
          
          April's face.
          
                              FRANK (CONT'D)
                        (sober)
                    All I'm saying is you don't seem
                    entirely rational about this
                    thing... And maybe we should get
                    someone to help you think about it.
          
                              APRIL
                    ...And the new job's going to pay
                    for that too?
          
                              FRANK
                    April if you need a shrink, it'll
                    be paid for. Obviously.
          
          April turns to the book shelves.   Her back to him.
          
          Frank waits, his heart beating quickly.
          
                              APRIL
                    ...Okay. I guess there isn't much
                    more to say, then, is there?
          
          Her eyes are bright with tears.
          
                              APRIL (CONT'D)
                    So I guess Paris was a pretty
                    childish idea, huh?
          
                                                                   70.
          
          
          Everything hangs on Frank's answer...
          
                              FRANK
                    I guess maybe it was.
          
          April closes her eyes. Tears run down her cheeks.   He walks
          over to her, but he doesn't touch her.
          
                              FRANK (CONT'D)
                    We can be happy here April...   I
                    can make you happy here.
          
          She cries quietly.
          
                              FRANK (CONT'D)
                    We've had a great few months.   It
                    doesn't have to end...
          
          She turns to face him.
          
                              FRANK (CONT'D)
                    We're going to be okay.
          
                              APRIL
                    I hope so Frank.   I really hope so.
          
          
          INT. WHEELER LIVING ROOM - MORNING.
          
          Frank stands at the picture window watching...
          
          April approach the children. She squats on the ground so she
          can be at their height and talks to them. Michael tries to
          get into her arms. Jennifer turns away and walks sulkily
          across the grass.
          
          Frank looks into his coffee cup.   He doesn't look like a man
          who won an argument.
          
          
          INT. KNOX WAITING ROOM - DAY.
          
          Frank sits smoking nervously in an oak-paneled waiting room.
          The door opens behind him. He gets to his feet.
          
                              RECEPTIONIST
                    Thank you for waiting.   Mr. Pollock
                    can see you now.
          
                                                                    71.
          
          
          He follows her through the door.    The door closes behind her.
          
          We see the scene in dumb-show through the glass door. Bart
          looks up as Frank enters. An "I knew it all along" smile
          spreads across Pollock's face. He offers his hand to Frank.
          Frank smiles thinly. They shake.
          
                              JACK (O.S)
                    Foiled by faulty contraception.
          
          
          INT. MIDTOWN RESTAURANT - DAY.
          
          Frank, Ed, Vince and Jack sit in the same booth in the same
          crowded luncheonette.
          
          Frank stares out the window.   The others can't contain
          themselves.
          
                              ED
                    I can't say I'm sorry.
          
                              VINCE
                    Wouldn't have been the same without
                    you.
          
                              JACK
                    You'd have been sorely missed in
                    the old cubicle, I can tell you
                    that.
          
          He raises his glass, drinks alone.
          
                              JACK (CONT'D)
                    Besides which...
          
          Frank looks away from the window.
          
                              FRANK
                    What?
          
                              JACK
                    ...Well, the plan always seemed a
                    touch unrealistic, don't you think?
          
          Frank glares with barely contained fury.
          
                                                                   72.
          
          
                              JACK (CONT'D)
                    I suppose, it's none of my
                    business, really.
          
                               FRANK
                    No.   I suppose it isn't.
          
          A beat.
          
                              JACK
                    Well, we won't be the only ones
                    glad to hear the news. They'll be
                    celebrating in the secretarial
                    pool.
          
          Ed and Vince chuckle.   Frank's face.
          
          
          INT. VITO'S LOG CABIN - NIGHT.
          
          Two drumsticks spinning in a spotlight.   They click out a
          rhythm, and crash into a number.
          
          Cut back to reveal a small, low-ceilinged joint. On-stage
          are the Steve Kovack quartet, four perspiring middle-aged men
          with day jobs.
          
          YOUNGISH COUPLES, and the odd middle-aged COUPLE navigate the
          dance floor.
          
          A smattering of lost SINGLES line the bar.
          
          The Wheelers and Campbells sit squashed into a booth on the
          side of the dance floor.
          
          Several empty glasses have accumulated. Milly is beating the
          edge of the table with red drink straws. She's a few drinks
          ahead.
          
          They have to SHOUT over the MUSIC.
          
                              MILLY
                    Hey! Remember the first time you
                    brought us here? You said, it
                    takes a special kind of taste to
                    enjoy Vito's Log Cabin!
          
                                                                     73.
          
          
                              SHEP
                    It's so awful it's kinda nice!
          
                              MILLY
                    That's right!
          
          They laugh at the old joke.   Then Milly begins to weep.
          
                              MILLY (CONT'D)
                        (dabs at her eyes)
                    Look at me...! I'm just so happy.
                    Our little gang's back together
                    again!
          
          She knocks her drink back.    The number finishes.
          
                              SHEP
                    At least Europe's not going
                    anywhere.
          
          April stares out at the dance floor.    Frank looks at her.   A
          new number starts.
          
                              FRANK
                    Wanna dance?
          
                              APRIL
                    I don't really feel like it.
          
                              MILLY
                    I'll dance!
          
          Milly takes him by the hand and pulls him away. Shep and
          April watch. Then Shep turns his attention to April.
          
                              MILLY (CONT'D)
                        (tipsy)
                    Guess April's pretty blue `bout
                    Paris, huh?
          
                              FRANK
                    Think she'll be okay?
          
                              MILLY
                    Oh, sure. Give us girls a couple
                    of days and we can get over
                    anything!
          
                                                                    74.
          
          
          Frank turns his attention to Milly. He's a good dancer. His
          movements are fast and aggressive, his mind on April.
          
          Milly is a little too drunk, and hurries to keep up,
          perspiring through her dress. He spins her around and
          around, back and forth into his arms. Milly begins to look
          slightly dizzy.
          
                                 MILLY (CONT'D)
                     ...Frank.
          
          He doesn't hear her over the music, or he doesn't care.
          
                               MILLY (CONT'D)
                     Frank... I...
          
                               FRANK
                         (sudden remorse)
                     You okay?
          
                               MILLY
                     Gee...I'm afraid I'm not very...
          
          Her body spasms with the need to be sick. She turns and
          rushes for the lady's room.
          
          
          EXT. VITO'S LOG CABIN - NIGHT.
          
          Frank leads the way through the cars.
          
          Shep supports Milly who is now falling down drunk.
          
          April walks alone a few paces behind...
          
          They reach Shep's car, which is trapped behind several other
          cars.
          
                               SHEP
                     Of all the inconsiderate...
          
          A beat.   Frank looks to April.
          
                                                                     75.
          
          
                              APRIL
                    Look - why don't you take Milly
                    home, then go home yourself and
                    that would take care of both
                    sitters. Then Shep can take me
                    home later.
          
                              SHEP
                    All right with me.
          
                              FRANK
                        (to April)
                    You'll be alright?
          
                              APRIL
                    Sure.
          
          Frank holds April's look an instant, then walks away with car
          keys in hand.
          
          
          INT. VITO'S LOG CABIN - NIGHT.
          
          Steve Kovack performs an exhausting, sweat-drenched drum
          solo.
          
          April and Shep now sit alone in the booth.
          
                              SHEP
                    I'm sorry you're not going away
                    anymore. I know it was important to
                    you.
          
          April distantly nods her thanks.
          
                              SHEP (CONT'D)
                    Don't take this wrong; I've been
                    there and...they don't have so much
                    we don't have here.
          
                              APRIL
                    It didn't have to be Paris.
          
          Shep sips his beer, trying to figure out how to connect with
          her...
          
                              SHEP
                    You just wanted out, huh?
          
                                                              76.
          
          
                              APRIL
                    I wanted in. I just wanted us to
                    live again.
          
          Shep nods, not entirely sure what she means.
          
                              APRIL (CONT'D)
                    For years I thought we shared a
                    secret...that we would be wonderful
                    in the world. I didn't exactly know
                    how, but just the
                    possibility...kept me hoping.
          
          She takes a long slug of her drink.
          
                              APRIL (CONT'D)
                    How pathetic is that? To put all
                    your hopes in a promise that was
                    never made? See, Frank knows...he
                    knows what he wants. He's found his
                    place. He's just fine. Married, two
                    kids. It should be enough. It is
                    for him. He's right; we were never
                    special or destined or anything at
                    all.
          
                              SHEP
                    Sure you are. You're The Wheelers.
                    You're a terrific couple, everyone
                    says so.
          
          April doesn't hear, she's pursuing her thought...
          
                               APRIL
                    I saw a different life. I can't
                    stop seeing it.
                        (beat)
                    Can't leave, can't stay.
                        (beat)
                    No damn use to anyone.
          
          April turns and stares at him.
          
          The band strikes up a new number.
          
                              APRIL (CONT'D)
                    Come on, let's do it.
          
                                                                  77.
          
          
          INT. VITO'S LOG CABIN, DANCE FLOOR - NIGHT.
          
          April and Shep dance.
          
          Shep can't dance well, but he's trying. April, on the other
          hand, is a wonderful dancer. She dances out as far as their
          joined hands allow and does a little twitching, hip-bobbing
          curtsies before twisting back, all seemingly effortless. It
          is joyous, released.
          
          
          INT. SHEP'S CAR - NIGHT.
          
          Shep slips behind the wheel and is immediately kissing her,
          groping.
          
                              SHEP
                    Let me take you somewhere.
          
                               APRIL
                    No. Please. Here.    Now.    In the
                    back seat.
          
          She climbs into the back seat. He pulls off his jacket and
          climbs in after her. He folds the jacket under her head for
          a pillow...
          
          She remains perfectly still, allowing him to kiss her, to
          search under her clothing, to kiss her skin and finally, to
          lift her skirt and pull her clothing aside and make love to
          her against the vinyl seat cover...
          
          As suddenly as it began, it's over. Shep collapses against
          her. April stares into the darkness.
          
                              SHEP (CONT'D)
                    April... This is what I've always
                    wanted... I love you.
          
                              APRIL
                    Don't say that.
          
                              SHEP
                    I mean it, I love you.
          
                              APRIL
                    Please, just be quiet for a minute,
                    then you can take me home.
          
                                                                    78.
          
          
          They begin to quietly assemble themselves.
          
          
          INT. FRANK AND APRIL'S BEDROOM - AFTERNOON
          
          Frank stands at the mirror putting on a clean shirt.
          
          
          INT. WHEELER KITCHEN/DINING ROOM - AFTERNOON.
          
          April stands at the kitchen table chopping vegetables.    She
          wears an unflattering floral dress.
          
          Frank stands in the doorway watching.
          
                              FRANK
                    It's beautiful out.
          
                              APRIL
                    Yes; it's lovely.
          
          
          He glances at the calendar.
          
                              FRANK
                    You know what today is?
          
          She doesn't look at him.
          
                              FRANK (CONT'D)
                    It's twelve weeks.
          
                              APRIL
                    That's right.
          
          He walks over to her.   He takes her in his arms.   She
          stiffens.
          
                              FRANK
                    Look, this has been kind of a crazy
                    summer. We've both been under a
                    strain. I mean I know you're
                    upset.
          
                              APRIL
                    You know I'm not sleeping with you
                    and you want to know why?
          
                                                                    79.
          
          
          She looks him straight in the eye.
          
                              APRIL (CONT'D)
                    Well, I'm sorry Frank, but I don't
                    really feel like talking about it.
          
          She pulls herself free of his grasp. He watches as she adds
          the vegetables in the pot on the stove.
          
                              FRANK
                    Okay. What do you feel like
                    talking about?
          
                              APRIL
                    Would it be all right if we didn't
                    talk about anything? Can't we just
                    take each day as it comes, and do
                    the best we can, and not feel we
                    have to talk about everything all
                    the time?
          
          He smiles patiently.
          
                               FRANK
                    I don't think I suggested we talk
                    about everything all the time. My
                    point was, we've both been under a
                    strain and we ought to be trying to
                    help each other as much as we can
                    right now.
          
          She's utterly uninterested and it's making him nervous.
          
                              FRANK (CONT'D)
                    I mean God knows my own behavior
                    has been pretty weird lately... I
                    mean, as it happens... there is
                    actually something I'd like to tell
                    you about...
          
          She continues folding the napkins.
          
                               FRANK (CONT'D)
                    I've been with a girl in the city a
                    few times.
          
          Finally, she stops moving.   She looks at him.
          
                                                                  80.
          
          
                              FRANK (CONT'D)
                    A girl I hardly even know. It was
                    nothing to me, but she got a little
                    carried away. She's just a kid...
                    Anyway, it's over now. It's really
                    over. If I weren't sure of that I
                    guess I could never have told you
                    about it.
          
                              APRIL
                    Why did you?
          
                              FRANK
                        (relieved)
                    Baby, I don't know. I think it was
                    a simple case of wanting to be a
                    man again after all that abortion
                    business. Some kind of neurotic,
                    irrational need to prove something.
          
                              APRIL
                    No. I don't mean why did you have
                    the girl; I mean why did you tell
                    me about it?
          
          He is suddenly unsure.
          
                              APRIL (CONT'D)
                    I mean what's the point? Is it
                    supposed to make me jealous, or
                    something? Is it supposed to make
                    me fall in love with you, or back
                    into bed with you, or what? I mean
                    what am I supposed to say?
          
          He tries that same patient smile, but it's not convincing.
          
                              FRANK
                    Why don't you say what you feel?
          
                              APRIL
                    I don't feel anything.
          
                              FRANK
                    In other words you don't care what
                    I do or who I fuck or anything?
          
                                                                  81.
          
          
                              APRIL
                    No; I guess that's right; I don't.
          
          She is frighteningly calm.
          
                              APRIL (CONT'D)
                    Fuck who you like.
          
          His panic mounts.
          
                              FRANK
                    Don't you see...Don't you see, I
                    want you to care.
          
                              APRIL
                    Oh, I know you do. And I suppose I
                    would if I loved you. But you see
                    I don't think I do anymore. And I
                    only just figured that out. And
                    that's why I'd just as soon not do
                    any talking right now.
          
          She goes back into the kitchen. Frank follows her.
          
                              FRANK
                    Oh, now don't give me this shit!
                    You know God damn well you love me!
          
                              APRIL
                    You think so?!
          
                              FRANK
                    You know GOD DAMN WELL!
          
                               MRS. GIVINGS (O.S.)
                    Yoo-hoo!   Any one home?
          
          Frank and April stare at each other, breathless.
          
          
          INT. WHEELER DINING ROOM - LATE AFTERNOON.
          
          Frank and the Givings' sit with cocktails. It's painfully
          awkward. Moving boxes are everywhere.
          
                              APRIL
                    I'm sorry dinner's late. Can I get
                    anyone a refill?
          
                                                                     82.
          
          
                              MRS. GIVINGS
                    Oh, don't worry. It's nice just to
                    sit for a bit and socialize...You
                    really didn't need to go through
                    all the trouble of cooking. I can
                    see you have a lot to do with
                    packing and what not.
          
          Frank looks at April. She avoids his look.
          
                              FRANK
                    Actually, there's been a change of
                    plans.
          
                              MRS. GIVINGS
                    Oh?
          
          John looks up.
          
          Frank looks at April.
          
                              FRANK
                    I thought maybe it was obvious...
                    April's pregnant.
          
          April manages a forced smile.
          
                              MRS. GIVINGS
                    Oh, April! I can't tell you how
                    pleased I am. Oh, but I expect
                    you'll be needing a bigger house,
                    now, won't you?
          
                              JOHN
                    Hold it a second, Ma.
          
          John gets to his feet.
          
                              JOHN (CONT'D)
                    I don't get this.
          
          He fixes Frank with the stare of a prosecuting attorney.
          
                              JOHN (CONT'D)
                    What's so obvious about it? I mean
                    okay, she's pregnant; so what?
                    Don't people have babies in Europe?
          
                                                                   83.
          
          
                               MRS. GIVINGS
                    Oh John, really. I don't think we
                    need to --
          
          John holds up a hand.
          
                              JOHN
                    I'm asking the man a question. If
                    he doesn't want to give me the
                    answer, I'm assuming he'll have
                    sense enough to tell me so.
          
                              FRANK
                    Suppose we just say that people
                    anywhere aren't very well advised
                    to have babies unless they can
                    afford them.
          
                              JOHN
                        (nods slowly)
                    Okay. Okay; it's a question of
                    money. Money's always a good
                    reason...
          
          John paces the room, with his hands behind his back like a
          detective at a murder scene.
          
                              JOHN (CONT'D)
                    But it's hardly ever the real
                    reason. What's the real reason?
                    Wife talk you out of it, or what?
          
          He turns the force of his smile on April.
          
                              JOHN (CONT'D)
                    Little woman decide she isn't quite
                    ready to quit playing house?
          
          She walks across the room and stabs out her cigarette.   Then
          immediately lights another.
          
                              JOHN (CONT'D)
                    Nah, nah, that's not it. I can
                    tell. She looks too tough. Tough
                    and female and adequate as hell.
          
          He swings around to face Frank.
          
                                                                    84.
          
          
                              JOHN (CONT'D)
                    Okay, then; it must've been you.
          
          Frank stares back defiantly.   Rage bubbling.
          
                              JOHN (CONT'D)
                    What happened?
          
                              MRS. GIVINGS
                    John, please, you're being very --
          
          John holds up his hand.
          
                              JOHN
                    What happened, Frank? You get cold
                    feet, or what? You decide you're
                    better off here after all? You
                    figure it's more comfy here in the
                    old Hopeless Emptiness after all,
                    or --
          
          Frank's face.
          
                              JOHN (CONT'D)
                    Wow, that did it! Look at his
                    face! What's the matter, Wheeler?
                    Am I getting warm?
          
          Frank stares at John, his rage increasing.   Mr. Givings gets
          to his feet.
          
                              MR. GIVINGS (CONT'D)
                    All right, son. I think we'd
                    better be --
          
                              JOHN
                    Boy!
          
          He lets out his braying laugh.   April starts to laugh.
          
                              JOHN (CONT'D)
                    Boy! You know something? I
                    wouldn't be surprised if you
                    knocked her up on purpose just so
                    you could spend the rest of your
                    life hiding behind that maternity
                    dress. That way you never have to
                    find out what he's made of.
          
                                                                  85.
          
          
                              FRANK
                    Now look, I think that's just about
                    enough out of you. I mean, who the
                    hell do you think you are? You
                    come in here and say whatever crazy
                    God damn thing comes into your head
                    and I think it's about time someone
                    told you to keep your God damn -
          
                              MRS. GIVINGS
                    He's not well, Frank.
          
                              FRANK
                    Not well, my ass! I don't give a
                    damn if he's sick or well or dead
                    or alive, he should keep his
                    fucking opinions in the fucking
                    insane asylum where they belong!
          
          April stares at Frank.
          
                              MR. GIVINGS
                    Let's go, son.
          
          Mr. Givings moves John towards the door. Mrs. Givings slowly
          stands. April is the only one left seated.
          
                              JOHN
                    Big man you got there, April.
          
          He winks at April and puts his hat on.
          
                              JOHN (CONT'D)
                    Big family man, solid citizen. I
                    feel sorry for you. Still, maybe
                    you deserve each other.
          
          April's face.
          
                              JOHN (CONT'D)
                    Matter of fact, the way you look
                    right now, I'm beginning to feel
                    sorry for him, too. I mean, you
                    must give him a pretty bad time, if
                    making babies is the only way he
                    can prove he's got a pair of balls.
          
                                                                  86.
          
          
                              FRANK
                    You... fucking..!
          
          Frank lunges at John. Mr. Givings tries to hold Frank back.
          Mrs. Givings leaps between them. She's crying.
          
                              MRS. GIVINGS
                    He's not well, Frank!
          
          Silence.   Mr. Givings slowly releases Frank.   He is
          breathing heavily.
          
                              MR. GIVINGS
                    All right, John. Let's get on out
                    to the car now.
          
          He guides him from the room.
          
                              MRS. GIVINGS
                    I'm sorry April, I'm so sorry...
          
                              JOHN
                    Right... Sorry, sorry, sorry!
                    Okay Ma? Have I said `Sorry'
                    enough times? I am sorry, too.
                    Damn; I bet I'm just about the
                    sorriest bastard I know. Course,
                    get right down to it, I don't have
                    a whole hell of a lot to be glad
                    about, do I?
          
          He takes another step towards the door, then stops and turns
          back, laughing again.
          
                              JOHN (CONT'D)
                    Hey, but I'm glad about one thing,
                    though.
          
          He points a yellow-stained finger at April's stomach.
          
                              JOHN (CONT'D)
                    You know what I'm glad about? I'm
                    glad I'm not gonna be that kid.
          
          They go out.
          
          Frank goes to the liquor cabinet, pours a whiskey and drinks
          it.
          
                                                             87.
          
          
          April watches him from across the room.
          
                              FRANK
                    Okay, okay, don't tell me. Don't
                    tell me; let me guess. I made a
                    Disgusting Spectacle of Myself.
                    Right?
          
                                APRIL
                    Right.
          
          He turns to April.
          
                              FRANK
                    And everything that man said is
                    True. Right? Isn't that what
                    you're going to say?
          
                              APRIL
                    Apparently I don't have to.     You're
                    saying it for me.
          
          He comes towards her.
          
                              FRANK
                    But you're wrong.
          
                              APRIL
                    Why am I wrong?
          
                              FRANK
                    Because the man is insane. He's
                    fucking insane! Do you know what
                    the definition of insanity is?
          
                              APRIL
                    What is it, Frank?
          
                              FRANK
                    The inability to relate to another
                    human being. It's the inability to
                    love.
          
          She looks at him.    Then she begins to laugh.
          
                              APRIL
                    The in -- the in; the inabil; the
                    inability to --
          
                                                                     88.
          
          
          She reels around the room, her laughter increasingly out of
          control.
          
                              APRIL (CONT'D)
                    Oh. -- Oh, Frank, you really are a
                    wonderful talker! If black could
                    be made into white by talking,
                    you'd be the man for the job. So
                    now I'm crazy because I don't love
                    you -- right? Is that the point?
          
                              FRANK
                    No. Wrong. You're not crazy and
                    you do love me; that's the point.
          
          He takes a step towards her.
          
          All the laughter goes out of her face.   She backs away.
          
                              APRIL
                    But I don't. In fact I loathe the
                    sight of you. You're just a boy who
                    made me laugh at a party once and
                    if you come any closer, if you
                    touch me or anything I think I'll
                    scream.
          
          He takes her by the arms.
          
                              FRANK
                    Oh baby listen --
          
          She SCREAMS. High and shrill.    Her eyes wide open, cold and
          perfectly calm.
          
                              FRANK (CONT'D)
                    Fuck you, April. And fuck all your
                    hateful, snotty little -
          
          She slips past him.
          
          He goes after her.
          
          She pulls a chair into his path.
          
          He SLINGS it against the wall.
          
                                                                 89.
          
          
                              APRIL
                    What're you going to do now? Are
                    you going to hit me? To show how
                    much you love me?
          
                              FRANK
                    Oh, no, don't worry, I can't be
                    bothered! You're not worth the
                    trouble it'd take to hit you.
                    You're not worth the powder it'd
                    take to blow you up. You're an
                    empty --
          
          He begins to shake with anger.
          
                              FRANK (CONT'D)
                    You're an empty, hollow fucking
                    shell of a woman. What the hell
                    are you living in my house for if
                    you hate me so much? Huh? Will
                    you answer me that? Why the hell
                    do you fuck me? What the hell are
                    you carrying my child for?
          
          He points at her belly.
          
                              FRANK (CONT'D)
                    Why the hell didn't you just get
                    rid of it, when you had the chance?
                    Because listen. Listen: I got news
                    for you. I wish to God you had.
          
          He strides out of the room.
          
          
          INT. FRANK AND APRIL'S BEDROOM - EVENING.
          
          Frank enters the bedroom and slams the door.
          
          He paces, slowly calming.
          
          He sits on the bed with his head in his hands... His mind
          racing. Then he's on his feet again. He rushes for the
          door.
          
                                                                   90.
          
          
          INT. WHEELER KITCHEN - EVENING.
          
          Frank enters, running, but the kitchen is empty.   Frank runs
          out of the room into living room.
          
          
          INT. WHEELER LIVING ROOM - EVENING
          
          The living room is empty.   He goes straight for the front
          door.
          
          
          EXT. WHEELER HOUSE - EVENING.
          
          Frank bursts out the front and comes to a stop.
          
          She's across the street - climbing unsteadily into the
          woods...
          
          Frank breaks into a sprint.
          
          
          EXT. WOODS - EVENING.
          
          April walks through the woods.
          
          Frank runs up behind her, scrambling through the muddy
          bracken.
          
          April wheels around.
          
                              APRIL
                    Don't come any closer.
          
                              FRANK
                    April, listen, I --
          
                              APRIL
                    Don't come any closer. Can't I
                    even get away from you in the
                    fucking woods?
          
          He stops moving.
          
                              FRANK
                    April, listen, I didn't mean that.
                    Honestly; I didn't mean what I
                    said.
          
                                                                     91.
          
          
                              APRIL
                    Are you still talking? Isn't there
                    any way to stop your talking? I
                    NEED to think. Can't you see that?
          
          She backs up against a tree trunk, looking down at him.
          
                              FRANK
                    Please come back.     What're you
                    doing out here?
          
                              APRIL
                    Do you want me to scream again,
                    Frank? Because I will, if you say
                    another word! I mean it!
          
          Frank has no choice - they're outside. The neighbors would
          hear and call the police. He reluctantly backs away, then
          turns back the way he came, glancing over his shoulder as he
          goes.
          
          
          INT. WHEELER FAMILY ROOM - NIGHT.
          
          Frank stands at the window watching the section of woods
          where he left April.
          
          Then, he sees her come back across the street. She walks
          around the side of the house. He turns and runs into the
          kitchen.
          
          
          INT. WHEELER KITCHEN - NIGHT.
          
          Frank goes to the window. He watches April walk up into the
          yard and stop against a tree.
          
          Frank pours a drink and takes the bottle with him to the
          window. He looks out, drinking.
          
          In the darkness, he can make out the glow of April's
          cigarette deep in the woods.
          
          
          INT. FRANK AND APRIL'S BEDROOM - NIGHT, LATER.
          
          Frank falls back on the bed.
          
                                                                      92.
          
          
          He's now very drunk.
          
          His eyes close as he slips into unconsciousness.
          
          
          INT. FRANK AND APRIL'S BEDROOM - MORNING.
          
          Frank wakes alone.     He looks around the room.   His head is
          throbbing.
          
          
          INT. WHEELER KITCHEN - MORNING.
          
          Frank stands in the doorway dressed for work.      He stares...
          
          The kitchen has been tidied and is bathed in sunlight.     The
          table has been carefully set for two.
          
          April stands at the stove wearing a fresh maternity dress.
          She seems serene.
          
          April turns and looks at him.
          
                              APRIL
                    Good morning.
          
                              FRANK
                    Good morning.
          
          He stands there frozen.
          
                              APRIL
                    Would you like scrambled eggs or
                    fried?
          
                              FRANK
                    Oh. It doesn't really matter -
                    Uh... scrambled, I guess, if it's
                    easy.
          
                               APRIL
                    Fine.   I'll have scrambled too.
          
          Frank sits at the table.
          
                                                                   93.
          
          
          INT. WHEELER KITCHEN - MORNING, MOMENTS LATER.
          
          Frank and April sit across the kitchen table, eating.   For
          several moments, only the sound of their cutlery.
          
                                 FRANK
                       It's kinda nice having breakfast
                       without the kids for a change.
          
          April reaches out to pour him some orange juice.   Her hands
          shake slightly.
          
                                 APRIL
                       Yes. I thought you'd probably want
                       a good breakfast today. I mean it's
                       kind of an important day for you,
                       isn't it? Isn't this the day you
                       have your conference with Pollock?
          
                                 FRANK
                           (surprised)
                       Yes. That's right, yes.
          
          He shrugs.
          
                                   FRANK (CONT'D)
                       Big deal.
          
                                 APRIL
                       I imagine it is a pretty big deal;
                       for them, anyway. What exactly do
                       you think you'll be doing? You
                       never have told me much about it.
          
                                 FRANK
                       Haven't I? Well... I think this
                       whole thing is about Knox getting
                       ready to buy up one of these really
                       big computers, bigger than the
                       `500'. Did I tell you about that?
          
                                 APRIL
                       No, I don't believe you did.
          
                                                                       94.
          
          
                                 FRANK
                       Well, you know -- Basically it's
                       just a...a big, fast adding
                       machine. Only...
          
          He takes a pencil from his inside pocket and delicately
          sketches the computer on the napkin.
          
                                 FRANK (CONT'D)
                       Instead of mechanical parts, you
                       see, it's got thousands of little
                       individual vacuum tubes.
          
          She picks up the drawing and looks at it.       It's surprisingly
          delicate.
          
                                 APRIL
                       Oh, I see. At least I think I see;
                       yes. It's really sort of --
                       interesting, isn't it?
          
                                 FRANK
                       Well, I don't know, it's -- yeah, I
                       guess it is sort of interesting, in
                       a way.
          
                                 APRIL
                       You should value what you do Frank.
                       You're obviously good at it.
          
          He smiles, flattered and surprised.    He slips the pencil into
          the inside pocket of his suit.
          
                                 FRANK
                       Guess I'd better be getting
                       started.
          
          He stands.    April stands up too, smoothing her skirt.
          
                                 FRANK (CONT'D)
                       Listen, though, April; this was
                       really nice... I mean it was a
                       swell breakfast. Really; I don't
                       know when I've ever had a -- a
                       nicer breakfast.
          
                                                                        95.
          
          
                              APRIL
                    Thank you... I'm glad; I enjoyed it
                    too.
          
          They stand there gazing at one another across the table.
          Suddenly, inexplicably, his eyes are filled with tears.
          
          He turns and walks to the door. He puts his hand on the
          handle and turns back once more.
          
                              FRANK
                    Then you don't -- You don't hate
                    me, or anything?
          
                              APRIL
                    No; of course I don't.
          
          She comes over to him.
          
                              APRIL (CONT'D)
                    Have a good day.
          
          He leans down and kisses her tenderly.   They look at one
          another a moment longer.
          
                              FRANK
                    Okay, then... So long.
          
          He steps through the door. She catches the door before it
          shuts and watches him through the screen.
          
          
          EXT. WHEELER DRIVEWAY - MORNING.
          
          April walks out onto the driveway as the car reverses away
          down the drive.
          
          
          INT. WHEELER CAR - MORNING.
          
          Frank backs the car onto the road. He slides the car into
          drive and then catches sight of April in the driveway.
          
          
          EXT. WHEELER DRIVEWAY - MORNING.
          
          April sees Frank looking back at her.    She waves.   Frank
          waves from the car and drives off...
          
                                                                    96.
          
          
          Then April is alone. She shivers from the morning chill.
          She turns and looks back at the house.
          
          
          INT. WHEELER KITCHEN - MORNING.
          
          April enters through the screen door and goes to the table.
          She looks down at Frank's diagram and carefully places it
          aside.
          
          She carries the dishes to the sink and begins to wash them.
          
          Suddenly, her body convulses as she tries to hold back from
          crying. And then there is no stopping the tears...
          
          
          INT. WHEELER HALLWAY - MORNING.
          
          April is standing by the phone, with her hand on the
          receiver, rehearsing. She is smoking. She dials.
          
                             APRIL
                    Hello... Milly? Everything all
                    right? My voice sounds what...?
          
          April uses both hands to grip the receiver.
          
                              APRIL (CONT'D)
                    Well, no, I'm afraid I'm not
                    feeling any better... If it's not
                    an inconvenience for you... This
                    evening would be great. What...?
                    Oh, well- no, not if they're
                    outdoors playing. Don't call them
                    in.
          
          The cigarette shreds in April's hand.
          
                              APRIL (CONT'D)
                    Just give them - you know, give
                    them each a kiss for me, and give
                    them my love, and tell them - you
                    know... All right, Milly. Thanks.
          
          She hangs up and begins to cry again.   Takes a breath.
          
                                                                     97.
          
          
          INT. WHEELER HALLWAY - MORNING.
          
          FOOTSTEPS...
          
          We move behind April as she walks through the silent house.
          
          The distant SOUND of children playing outside.
          
          Each room she passes is a pocket of silence.
          
          
          INT. FRANK AND APRIL'S BEDROOM - MORNING.
          
          April makes the bed.
          
          She arranges her shoes on the floor of the closet.
          
          April reaches onto a shelf behind some clothes.   Pulls out
          the brown paper package.
          
          
          INT. WHEELER KITCHEN - MORNING.
          
          April stands at the stove over a pot of rolling, boiling
          water.
          
          She removes the rubber syringe from its paper packaging and
          drops it into the pot. She checks her watch.
          
          
          INT. WHEELER HALLWAY - DAY.
          
          April carries the pot of boiling, sudsy water down the hall.
          
          
          INT. WHEELER BATHROOM - DAY.
          
          April places the pot into the tub.   She lays towels across
          the floor. And closes the door...
          
          
          INT. WHEELER BATHROOM - DAY, MOMENTS LATER.
          
          The SOUND of running water. The empty mirror.     April's face
          rises up into the reflection with a gasp.
          
                                                                       98.
          
          
          INT. WHEELER HALLWAY - DAY.
          
          We move with April down the hallway, her face is pale.
          
          
          INT. WHEELER LIVING ROOM - DAY, LATER.
          
          Now April stands at the picture window.    She is shaking.
          
          A DROPLET of blood slides down her knee.   She looks down.
          
          On the floor, two droplets of blood appear between her bare
          feet...
          
          Now we see the bright maple leaf of blood seeping through her
          skirt. She is shaking more.
          
          She walks slowly out of the room, towards the kitchen.
          
                              APRIL (O.S.)
                    I think I need an ambulance....
                    Yes... One one five Revolutionary
                    Road.
          
          
          INT. CAMPBELL KITCHEN - DAY.
          
          Milly folds laundry. She looks up to see -
          
          An ambulance turns into the Wheeler's driveway.   Her face
          clouds with instinctual foreboding.
          
          
          INT. HOSPITAL HALLWAY - AFTERNOON.
          
          Shep steps out into a hospital hallway.
          
          Frank paces, helpless in the waiting room, his face a mask of
          bewildered, childlike confusion. He looks up to see -
          
          Shep coming towards him.
          
                              SHEP
                    Frank? They tell you what
                    happened?
          
                                                                    99.
          
          
                              FRANK
                    Jesus, Shep. I couldn't even
                    understand half the things he told
                    me. He said the fetus was out
                    before they got her here. He said
                    they had to operate to take out the
                    whatdycallit, the placenta and now
                    she's still bleeding. He said
                    she'd lost a lot of blood before
                    the ambulance came, and now they're
                    trying to stop it, and he said a
                    whole lot of things I didn't get,
                    about capillaries, and he said
                    she's unconscious. Jesus.
          
                              SHEP
                    How about sitting down, Frank.
          
                              FRANK
                    What the hell do I want to sit down
                    for!
          
                               SHEP
                    Okay.   Take it easy.
          
                               FRANK
                    My God.
          
                              SHEP
                    Here, have a cigarette.
          
          Shep offers the pack.   Frank doesn't take one.
          
                              FRANK
                    She did it to herself, Shep.
          
          Shep's face as he realizes what he's saying.
          
                              FRANK (CONT'D)
                    She did it to herself.
          
          Shep takes a cigarette for himself.   He lights it with
          trembling fingers.
          
                              SHEP
                    I'll get some coffee.
          
          Frank looks over at Shep as if he'd forgotten him.   He nods.
          
                                                                   100.
          
          
          Shep stands and walks down the hall.
          
          
          INT. HOSPITAL - COFFEE MACHINE - AFTERNOON.
          
          Shep stands at a coffee machine, gathering himself. He looks
          up. He begins to feed coins into the machine. His hands are
          trembling. He drops a coin. It rolls under the machine. He
          has to get down on his hands and knees to retrieve it...
          
          
          INT. HOSPITAL HALLWAY - AFTERNOON.
          
          Shep walks tentatively, holding a cup in each hand, slopping
          coffee onto the floor...
          
          He rounds the corner and stops.
          
          Frank is no longer in his chair at the end of the long
          echoing hallway. Shep looks around...
          
          Then suddenly, the double doors are flung open and a number
          of nurses hurry out. Behind them, comes Frank, supported by
          two Doctors.
          
          Shep runs to them as they move Frank over to a chair.    He's
          in shock.
          
                                FRANK
                    No.   No.   No.
          
          They try to make him sit, but he stays stubbornly on his
          feet, the chair skidding behind him.
          
                              DOCTOR
                    Try to sit down, Mr. Wheeler.
          
                              SHEP
                    Sit down Frank.
          
          Frank looks at Shep - his face is a terrifying blank.
          
          
          EXT. REVOLUTIONARY ROAD - MAGIC HOUR.
          
          A toyland of white and pastel houses along the road. The
          crisp green lawns. The blue televisions flickering behind
          the glass.
          
                                                                  101.
          
          
          We hear the WHISK of running footsteps on the asphalt, the
          rush of a man's breath...
          
          Frank is running down the middle of the street, tears
          streaming silently down his face...
          
          
          INT. CAMPBELL LIVING ROOM - EVENING, ONE YEAR LATER.
          
          Four high-ball glasses with glistening cubes of ice.
          
          Shep puts the finishing touches on four drinks.
          
          MR. and MRS. BRACE, a pleasant looking young couple fresh
          from the city sit on the couch.
          
                                 MILLY
                       ...It was the worst experience of
                       my life. Such wonderful people.
                       Weren't they Shep? Poor April.
          
          Shep picks up the drinks and carries them across the room.
          He stands there beside the three of them, but he can't bring
          himself to sit down and join in.
          
                                 MILLY (CONT'D)
                       Frank lives in the city now.       Where
                       is it he works?
          
                                 SHEP
                       Bart Pollock Associates.
          
                                    MR. BRACE
                       Computers.     Interesting firm.
          
          Mr. Brace removes his pipe and looks at it.
          
                                 MRS. BRACE
                       Have you seen him since?
          
                                 MILLY
                       No. Too many memories, I think.
                       Shep's seen him. In the city.
          
          Shep nods.
          
                                                                   102.
          
          
                              MILLY (CONT'D)
                    He's just dedicated to those kids.
                    Every spare moment he has, he
                    spends with them...
          
          Shep turns and walks out of the room.
          
          
          EXT. CAMPBELL HOUSE - EVENING.
          
          Shep walks across the lawn to the edge of the property. He
          looks out over the suburban houses. At what was once the
          Wheeler house.
          
          Shep's face, looking out. His eyes are filled with tears.
          Milly comes up behind him.
          
                                MILLY
                    You okay?
          
                                SHEP
                    Mm-hmm.
          
          She takes his arm and holds him close.
          
                              SHEP (CONT'D)
                    I don't want to talk about The
                    Wheelers any more.
          
                             MILLY
                    Okay. We don't have to.     We don't
                    have to.
          
          Shep and Milly look out over Revolutionary Road.
          
          
          EXT. CITY PARK - DAY.
          
          The same silence over a beautiful day in the city.    And
          from the silence, the faint sound of wind through the leafy
          branches of trees.
          
          Two children play in a playground in a small park.
          
          It's Jennifer and Michael.    They seem happy, engrossed. Other
          kids play around them.
          
                                                                  103.
          
          
          Watching them from a bench is Frank.   He is a little older, a
          little thinner.
          
          Close on Frank's face.   The SOUND of his children playing.
          
          
          INT. GIVINGS' LIVING ROOM - DAY
          
          Mrs. Givings crouches on a cotton work sheet painting varnish
          onto a chair. Mr. Givings sits reading the paper.
          
          A new puppy sleeps curled up on the rug nearby.
          
                              MRS. GIVINGS
                    I can't tell you how pleased I am
                    about the little Revolutionary Road
                    place, Howard. Remember how dreary
                    it looked all winter? All cold and
                    dark and -- well, spooky. Creepy-
                    crawly. And now whenever I drive
                    past, it gives me such a lift to
                    see it all perked up and spanking
                    clean again, with lights in the
                    windows. And do you know, I was
                    just thinking, I've loved that
                    little house for years, and the
                    Braces are the first really
                    suitable people I've ever found for
                    it. Really nice, congenial people,
                    I mean.
          
          Mr. Givings fiddles with his hearing aid.
          
                              MR. GIVINGS
                    Well, except for the Wheelers, you
                    mean.
          
                              MRS. GIVINGS
                    Oh, I was very fond of the Wheelers
                    but they always were a bit -- a bit
                    whimsical, for my taste. A bit
                    neurotic. I may not have stressed
                    it, but they were often very trying
                    people to deal with, in many ways.
                              (MORE)
          
                                                                 104.
          
                              MRS. GIVINGS (CONT'D)
                    Actually, the main reason the
                    little house has been so hard to
                    sell is that they let it depreciate
                    so dreadfully. Warped window
                    frames, wet cellar, crayon marks on
                    the walls, filthy smudges around
                    all the--
          
          Mr. Givings reaches up to his ear and SUDDENLY... SILENCE...
          but for the faint sound of wind.
          
          He gazes out the window as behind him Mrs. Givings continues
          to talk, but we can't hear a thing.
          
          He has turned off his hearing aid.
          
                                                     FADE TO BLACK
          
          
 

Revolutionary Road



Writers :   Justin Haythe
Genres :   Drama  Romance


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